Anywhere iv

Anywhere IV 978-0-6487354-1-0 Published by Project Anywhere; Centre of Visual Art (University of Melbourne) and Parsons Fine Art (Parsons School of Design, The New School).

Art at the Outermost Limits of Location-Specificity

FRONT -egaMATTER p trohs a poleved ot detivni era srotubirtnoc detneserp neht era sesnopser esehT .esnopser desab ix Introduction eht llA .erehwynA noitacilbup lainneib ruo ni noSimone itacilbuDouglas p detide & sihSean t ni dLowry erutaef snoitubirtnoc citsitra ot esnopser ni depoleved neeb evah tcejorP ni noisulcni rof detceles yllanigiro stcejorp .smargorp noitibihxe 0202 dna 9102 s’erehwynA srehcraeser dna srotaruc ,stsitra gnitubirtnoc ehT taht eceip egami/txet a poleved ot detivni lla erew ron noitatnemucod draw rofthgiarts rehtien si eseht erahs ot dethgiled era eW .txet ylralohcs htruof ruo siht ni ’sgninigami-er‘ y ranidroartxe yb dengised dnoces eht dna ,erehwynA fo eussi elbissop ton si ti taht gnigdelwonkcA .ydigE allE ,tcejorp citsitra na ebircsed ro nialpxe yllohw ot dluohs vi erehwynA ni derutaef snoitubirtnoc eht rieht otni slatrop evitanretla sa nees eb daetsni .sdlrow evitcepser

eht gnitanimulli rof tiudnoc a si erehwynA tcejorP PROJECTS no erehwyna detacol yllaitnetop tra fo ecnetsixe l02 edomAnGuide oitibihtoxeRemembering: labolg deweiver reep a gnisU .htrae etThe aulaColonial ve ot denAmnesia gised si Project ti ,etisbew detacided dna eTania distuoBlackwell detneserp stcejorp citsitra etomorp dna yek A .stiucric dna secaps noitibihxe lanoitidart noitaDrawing ulave eviWonder tavonni s’erehwynA tcejorP fo erutaef 14 roKiera taruc O’Toole fo erugfi eht fo noitutitsbus eht si ledom .metsys noitaulave reep dnilb gnizitarcomed a htiw reffid ledom noitaulave reep siht ,yltnacfiingiS 26 sFirmament noiJessica taulaveTaylor hcraeson er lNiccolò anoitidaMoronato rt morf yllaitnatsbus fo ytilauq eht esrodne yllacipyt hcihw ,smetsys gnizisahpme yb ,daetsnI .”semoctuo“ tcejorp 38 Acompañamiento dniSusie lb-elbu od ruo ,egats lasoporp eht ta noitaulave Quillinan -ksir dna ,noitaluceps segelivirp ssecorp weiver reep fo snoInvisibledrum itatneserpeRArt .”no itasilaer“ tcejorp revo gnikat 48 Platform labolgAmalia s’erehw ynA tceand jorPNazare fo trapSoarés sa detsoh stcejorp Fonfara egapemoh eht no derutaef era margorp noitibihxe ,d gnitsoof h Time eht tuohguorht detadpu ,raey eno rof 62oirepIslands eht ni eMasini lbissecca yltnenamrep edam neht dna Niccolò .evihcra noitibihxe d74 na laLowering udividni h tob stFraser pecca erehwynA tcejorP Simon dnMaddie a srotaruLeach c ,stsitra morf slasoporp evitaroballoc stcejorP .dlrow eht ni erehwyna gnikrow srehcraeser d86 na erModernity’s utan ni evisBridge rucsid ro evitaluceps ylhgih eb nac .seAnthony igolodohtMcInneny, em gnitsixeBeatriz tcidartMaturana noc ro dnetxe nac ,noand itadiMuseo lav tnedBenjamín nepedni sVicuña droffa eMackenna rehwynA tcejorP a ssorca noitanimessid lanoitanretni dna ,kcabdeef e106 ht taMuseum hcraeserfor citthe sitraDisplaced dna tra rof smroftalp fo egnar .yticfiiceps-noitacol fo stimil tsomretuo Ana Salzar erehwynA tcejorP eht fo noitassec eht tA detcePlastic les lla ,Mahal doirep gnitsoh noitibihxe labolg launna 118 Ben Parry 134

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The Quintessence Pamela Breda

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The Ruderal Library Hannah Hirsekorn

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ZÀO: A History of Chinese Dishcourse through Famine and Revolution Siri Lee

189 Bios 200 Editors

salguoD enomiS & yrwoL naeS

Signifiers Aurora Del Rio and Alvin McIntyre

146 The Living My Husband aka Eliza Doyle and Annika Berry

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STCEJORP Anywhere IV R E T TA M D N E soiB 981 srotidE 002

Simone Douglas & Sean Lowry

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dna dengised saw noitacilbup ehT gnuruwnooB eht fo sdnal eht no dehsilbup nretsaE eht fo elpoep irejdnuruW dna fo ytisrevinU / AVoC .noitan niluK Project Anywhere is a conduit for illuminating T TA M T N OR F S T C Ethe J OR P contributors are invited to develop aR Eshort pageexistence of art potentially located anywhere egd elwononkca ot based ekiresponse. l dluThese owresponses enrareuthen obpresented leM earth. Using a peer reviewed noiAll tcudthe ortnI xi :gnirebglobal memeRexhibition ot ediuG Amodel 20 in our biennial publication Anywhere. o dnal n w and dedicated website, y ro woLk nin ar ethis So &w salgue oD enot ma iS ht tcejoritP is aisdesigned ee nmh A lt ainto olevaluate ot C ehg T nignolebcontributions featured edited publication and promote artistic projects presented llewkcalBoutside ainaT have been developed in response to artistic ,sespaces ruand tlu c sAukeyounitnocprojects gnioriginally vil tsselected egnforoinclusion l s’dinlProject row traditional exhibition circuits. feature of Project Anywhere’s innovative rednoW gnievaluation warD 41 Anywhere’s 2019 and 2020 exhibition programs. model is the substitution of the curator .dfigure tngieartists, revo s taandhresearchers t dna ele ood T ’of Oe ac reiKreven saw Theycontributing curators with a democratizing blind peer evaluation system.

Significantly, this peer evaluation model tnemadiffers mri F 62 substantially research otafrom norotraditional M òlocciN n o rolyaTevaluation acisseJ systems, which typically endorse the quality of project “outcomes”. Instead, by otnemphasizing eimañapmocA 83 evaluation at the proposal stage,naour nilldouble-blind iuQ eisuS peer review process privileges speculation, and risktaking over project “realisation”. mroftalP trARepresentations murdelbisivnI 8of4 projects hosted séraas oSpart erazof aNProject dna araAnywhere’s fnoF ailamAglobal exhibition program are featured on the homepage for one year, updated throughoutem the i T hosting fo sdnalsperiod, I 26 and then made permanently accessible inisaM òin locthe ciN exhibition archive.

Project Anywhere accepts resar F noboth miS gindividual nirewoL and 47 collaborative proposals from artists, hcaecurators L eiddaMand researchers working anywhere in the world. Projects can be highly speculative or discursive egdirB s’ytiin nrenature doM and 68 can extend anaor rucontradict taM zirtaeBexisting ,ynennImethodologies. cM ynohtnA ProjectaAnywhere nnekcaM aaffords ñuciV nindependent ímajneB oesuvalidation, M dna feedback, and international dissemination across a range of platforms for dart ecaand lpsiDartistic eht rofresearch muesuMat 6the 01 outermost limits of location-specificity. razlaS anA At the cessation of the Project Anywhere annual global exhibition hosting period, lahaM call itsaselected lP 811 y rraP neB srefiingiS erytnIcM nivlA dna oiR leD aroruA

were all invited to develop a text/image piece that is neither straightforward documentation nor scholarly text. We are delighted to share these extraordinary ‘re-imaginings’ in this our fourth issue of Anywhere, and the second designed by Ella Egidy. Acknowledging that it is not possible to wholly explain or describe an artistic project, the contributions featured in Anywhere iv should instead be seen as alternative portals into their respective worlds.

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The publication was designed and published on the lands of the Boonwurung and Wurundjeri people of the Eastern Kulin nation. CoVA / University of eht gnitaneirm a euw lli,sroem f tituedm noSc a.srsei herto ehtw egyrnoA f dtcneajosgrPniht emos rebmemer ot dnet eW -egap trohs a poleved ot detivni era srotubirtnoc ,nnooietraechuwdyenrauodentia,ctonleym lln airtenveotgop rutorayb fosegcnnih etsnixiaetrec fo dednimer ylsuoucipsnoc Melbourne detneserp neht era sesnopsewould r esehT .esnopslike er desab to acknowledge le.ydlo sumoincosn itoibcinhuxetulaobdoelgkcdoelw b esiivhetrurreteephat g,rneivseUw.ohhtr,ase mitemoS .ytinummoc nihtiw ro eht llA .erehwynA noitacilbup lainneib ruo ni that etagunlato ihvteeomt othe dsegnngiw seodnski ttoi n,e,tsisebmeiwtedmeotaSc.ildaein deddntahgirtuo si ereht ,esruoc fo ,nehT noitacilbwe up detwork ide siht ni deron utaef sland noitubirtnocbelonging edisgtnuioebd,estenm esieterp msotSce.gjonriptncoitrsfn itorac eleteofmnoarcpedmniat tsrfi eht rof ti gniraeh neht dna citsitra ot esnopser ni depoleved neeb evah world’s yenkacAe.m sticultures, u t cgrnio c ldynraevseacraopfsdneosisteirbpihpxues lyalneo vitcidaanrteeb sah taht hturt a fo dednimer tcejorP ni noisulclongest ni rof detceles yllaliving nigiro stcejorpcontinuous noitauelh avtedenvait)a0v3o8n1(nei nsi’L erk eh cawlB yneAhttcfo ejyoro Ptfsoihereuhttagenf iwollof nI .gnitnorfnoc leef osla .sms ari gors pu noii til bilhu xe 0N 202 da nar 91r 02esT ’erehwynA ru,cnofoisearvungifilaeih ntolfocngonitiu wtoitllsobfudsneahgt nsirlued oam inamsaT ni )1381–3281( raW kcalB and neverroytamceded. srehcraethat ser dna srotsovereignty aruc ,stsitra gnitubirtnoc ehwas T t.cm enen tsoycs ontosietanuil alevlelarreaepp gdnniislub ngo nigzeitraerchot m paem d aylhlaticwisyhp ot tuo tes yllaitini hcraeser taht et cea ip h egat mi/g txn et aiph olet vee d om t deo tivns i lla erew ssarw effIid,ssleedcom rp n siohit afu oltarvaeprseA ep.yslih mta,yf lntn waocyfim ingoitSy rotsih krad siht fo ecneloiv eht ron noitatnemucod draw rofthgiarts rehtien si cesiehtt a o.tsxetsylrialohcs pnaomitadunlaaveepahccsrdaensaelrnlainnoaim tidsaT rt dmegogrfuyrlylaleitgnratlslbliutss eht erolpxe htob ot denimreted eram hs ote deltb hgio ledrep ra eW pfaomytlialacu irqoteshiht easnrooddneesayB lla.cniopiystavhnci hhw sit,sirm Beottsysslellarap dna y rtsecna tcivnoc ym htruof ruo siht ni ’sgninigami-er‘ y ranidroartxe erehgnraizeinsashapwmtIe .ynboi,tdaaneitsned I .y”m sem saowctouhoc“EtceekjaoLrptaht dediced I ,eniL kcalB eht fo onas,erd afo eussi y.bt dn enga iseg d do nor cer sa eht d ehwn ynA dnilbn-evlbiguosadwru)7o0,9e1g–a2t2s8l1a(slolepw orkpcaelhBt lteainnaoD itaru eh latvaefdnarg-taerg dr3 tcivnoc ym taht elbissop ton si ti taht gnigdelwonkcA .ydigE allE -ksir dna ,noit.adlnuaclegpnsEsoegt enlrivuitrepr srseevceoortpywtienivuetr orpeeppo na tuohtiw tub evael fo tekcit a ,tco ejon rp ct itsa itrh a nt a ebk ircn sedirh o nt ialpo xeT yllohw ot fo snoriataetnnyeeslelrapVeR air.”ontcoiiV tan siladenra“l tdced joercpnruevfoo lgencirkaapt a detnarg saw eh ,yltneuqesnoC dluohs vi erehwynA ni derutaef snoitubirtnoc eht labolg s’erehwynA tcejorP fo trap sa detsoh stcejorp.revir eht yb deredrob ohcE ekaL grin ehtioy tnp i slau troc pc evio tanrs etla a sw a neee s en b do aetsni ega.npaeim naom h seahTt enroa dueoryutnaeehfwereapm acasrdgnoarp l enhotitniibyihtixreailimaf fo esnes a si erehT .sdlrow evitcepser ,doirep gneivtash ohI e.nhwt oturouhognuoorshethd sueb taedhptuh,graueoyrhetno rerdonf aw yltneuqerf dluow ew sdik sA dnal fo eceip a noeff hot ndieenlrbuist sIelcitcnauylstinteanhatm ,erneoplaedseacmalnpeehttod mnear ni gnivird melborp a dah reven tuohtiW .ko eb dluow ti thguoh.etvIih.scrreahnsfi oiytibbidhexteneuqerf ohcE ekaL ot daor trid a uoy erofeb dna laudividni htob stpecca e.rethawwyenhAt toctedjoaroPr eht dnuof yllanfi I ,spam ro noitpecer .ereht tog dnalascroistyahrupce,hst seintriagam moirof tsldaestorpaotsrpI teavhittaerk ob alaellhotc fo egde eht ta ereh saw tI stecteajeorrcPo.d t lyrdoowbenhwt oniyemredhnwaysneangilneiktirhow w essruehoctrd aestrearts neht I .sredavni eht fo seidob — dna ertuletfan gnniioedvdisnraucgsniidkaromefvoitn alouitcceapsiyhlth,gyilhdeetbcenpaxcenU .epacsdnal eht ni noisivid a tle.sfewigoonloedconheltiesmehgTni.tsseiixreom tceidmargtno itcerrpord etnneitd xenanagcnitavitca fo sessecorp detcennoc jaT ,nroiftw adoinlakvtt’no ednIe.pek ed alnsi ishdtrfooffeagedreeh eh wtytnaAgn tciemjolerP hw revo tahwemos dna gninefaed

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tneve ehT .krow eht ni stnega yek sa etapicitrap ot eht fo moor gninid lanigiro eht ni ecalp ekat lliw lainoloc ylrae htiw dellfi si hcihw ,daetsemoh enigami ylno nac enO( .sgnittfi dna erutinruf tuohguorht gnipees amard dna seiromem eht eht taht depoh osla si tI ).sllaw dna teprac eht eht ecrofnier lliw laem eht fo ecnedaced evitaler si taht trofmoc lainoloc dna egelivirp tnerehni siht ,yltnettimretnI .yalp ta ylsuoucipsnoc os hcae htiw ,detpursid eb lliw trofmoc suoucipsnoc fo seires a morf noitseuq a gniksa tseug rennid eugolaid ekovorp ot dengised sdrac edamdnah rennid eht ta noitcaretni sihT .gnillet-hturt dna wen a ni detneserp retal dna dedrocer eb lliw elbat ni detelpmoc eb ot eud si krow sihT .noitarugfinoc fo ecneirepxe siht ,yltnacfiingiS .2202 etal ot dim gnirud ssecca etis detimil htiw noitcudorp citsitra .segnellahc detneserp ylbairavni sah cimednap a latigiD .seitinutroppo wen delaever osla sah ti teY eb ot elba eb won lliw krow siht fo snoitatneserper .emit dna ecaps ni erehwesle yllaitaps dezilairetam

dna dengised saw noitacilbup ehT gnuruwnooB eht fo sdnal eht no dehsilbup nretsaE eht fo elpoep irejdnuruW dna fo ytisrevinU / AVoC .noitan niluK noitcennoc repeed a selbaneWe sretend tnuocto neremember dna snoitcsome a hguthings orht gnand isilaforget iromem others. Sometimes, we are y romem selbane tI .fles eht fo conspicuously noitarugfinocereminded r a ,emit niofdn certain a ,elbigthings natni eby htour ot government,eingour deducation, elwonkca ot ekil dluow enruobleM .nettogrof eb reveortiwithin tsel ,gncommunity. ieb eritne ruSometimes, o hguorht dehowever, daerht ebthe ot truth is blocked out unconsciously. ehtsomething ot gnignoleb dnal no krow ew taht fo snoitareti ylrae ,egnahcxe Then, dna retof nucourse, ocne ,ethere cneireispxoutright e siht gndenial. iwolloFSometimes, not knowing elihW .koob gnirebmemeR ot ediuand G ehthen T gnihearing daer stnitapfor icitthe rapfirst devltime ovni tcan cejofeel rp sconfronting. iht Sometimes, being ru tllong uctimesu detivni neht dna demlfi erew streminded napicitrapof,daaetruth r gniethat b sahas w kobeen ob kcactively alb llamsuppressed s eht ,se for a very canounitnoc gnivil tsegnol s’dlrow Terra Nullius is war erew sesnopser tnapicitraalso P .kofeel ob econfronting. ht gnidaer reIn ftafollowing ro gnirudthe tnehistory mmoc of ot the Black Line (1830) and the eht ot ti hsup od ew “ ,elpmaxe roBlack f ,ti tuWar p eiz(1823–1831) uS tnapicitin rapTasmania sA .citneduring htua tleand f dnfollowing a colonial .dinvasion, edecmyreven saw ytngierevos taht dna something that arreT “ ,jaT tnapicitrap roF .”gresearch nitnorfnoinitially c etiuq sset i tiout esuto acephysically b sdnim rumap o fo the kcaregion b using parallel lines to connect eno on taht kniht oT .tnagorra osthe dnaviolence citamelboforthis p osdark si tahhistory t gnihtto emmy os sown i suifamily. lluN As part of this process, I was is so problematic fo noitisop siht morf si tI .”eredetermined ht tog uoy eto rofboth eb dnexplore al fo ecthe eip astill gnilargely ypuccorugged saw Tasmanian landscape and map .delaever gnieb sevitarran eht fo noimy tingconvict ocer repancestry eed a keeand s dluparallels ow I tahttoytBritish ilibareninvasion. luv Based on a historical map fo ygolopyt lairomem wen a tneseofrpthe ot sBlack kees hLine, craesIedecided r evitaercthat gniLake ogno Echo yM was my destination. It was near here and so arrogant. eb nac taht sretnuocne evitcellocthat dna my egnconvict ahcxe la3rd icosgreat-grandfather hguorht devired eDaniel pacsdnBlackwell al (1822–1907) was given tcejorp eht ,eroc sti tA .ecalp ro etaisticket eno ynofa leave fo seirbut adnwithout uob eht an dnopportunity oyeb derrefsntoarever t return to England.

To think that no raw reitnorf eht fo noitingocerConsequently, fo kcal eht sthhe gilwas hgihgranted dna gnialleparcel t hturtoftuunceded oba si land in Victoria Valley near .elbatrofmoc eb ot tnaem ton eLake ra sevEcho itarrabordered n esehT .nby oithe ger sriver. iht ni derrucco taht one was occupying mia I .noitacovorp citeop a hguorht sThere eiticoris taaesense seht gof nirfamiliarity ebmemer fin o tthe ca elandscape ht nI when you are Tasmanian. taht si taht eveileb I .y rotsih eAs ht ekids gdelwe wowould nkca dn frequently a trofmocwander lainolocthrough tpursidthe ot bushes on our own. I have a piece of land ’snoitacovorp citeop‘ sti dna tcnever ejorp had eht nai problem gnigagnedriving dna gnin itaremote picitrapplaces hguorh alone, t that is until I turned off on debme thgim noitazilairomem fo aecdirt neirroad epxeto ehLake t tahtEcho ,)gnirfrequented ebmemer rby of lfishers. oot a saI( thought it would be ok. Without before you taht ecitcarp y rotapicitrap hguorhtreception si tI .etapior citmaps, rap tahI tfinally esoht found rof levethe l reroad peedto an the o water. got there. lacisyhp aiv naht level repeed raf a no etaItnowas ser here thgim atgthe nilledge et-htuofrtthe dnalake egdthat elwoInstarted k to imagine the physical ,ecalp dna emit dnecsnart thgim bodies ygolopyoft lthe airoinvaders. mem sihTI then .enolastarted noitazto ilause iromwhite em lines and my own body to create — .gnieb ruo fo tnorferof eht oat division gnirebmin emthe er flandscape. o tca eht gnUnexpectedly, irb ,os gniod nthis i dnaaction of making and doing felt ot y rt ot llewhtoB ni ycnedisconnected er a dennalprocesses p dah I ,cim ofeactivating dnap eht oand t rointerpreting irP memories. The silence now felt Taj taht hcus—noitapicitrap laicosdeafening hguorht yand rotsisomewhat h eht ot nooverwhelming itcennoc siht nat edthe aorb edge of this lake. I don’t know for

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decneirepxe I hcihw taht taht gnsure illetif -hanything turt ot nooccurred itcennoc here. fo esnAt es any elbarate, rapmgiven oc a that it is a dam now, I wondered hcus ,snoitcennoc derahs hguorhift it tah was t saperhaps w mia ym the ,ersorrow eH .sreof htthe o ybloss tlefof ebculture dluoc and memory that I was feeling. dna tneserp emoceb dna gnieb ruoDead ni detrees, ddebmpartially e emoceimmersed, b thgim segpushed delwonk through the surface of the water. eht ypucco ot eunitnoc dnal eht foI tfelt on ean souncanny ht sa( egesense livirp of fo haunting, snoitpecreand p egn ofelabsence lahc and loss. Although I had etacinummoc ot sdohtem evitanretarrived la desivwith ed I ,yatsense ilibomofdbelonging, etimil ot euIDleft .)epfeeling acsdnaquite l displaced. I began to see eht ot detaler shpargotohp ddifferently. na segami fo I was seirenow s a ,seeing tsriF .ythrough tinummothe c ehlens t htiof w a thief. I now knew that I was dna sbuh ytinummoc lacol ottrespassing. deliam dna This sdracmoment llams noresonated detnirp erin ewa tparticularly cejorp powerful and resonant detnemgua epacsdnal lacol eht fo way. segam This i dedeeply dulcni experiential snoitacovorpand eseh transformative T .sdnuorrus moment at Lake Echo would in ot dehsiugnitxe erew sevil“ sa hcturn us stn form emetthe ats basis ro ”gnofitmy nuaresearch h“ sa hcufor s sdthe rowColonial htiw Amnesia Project. When I left, laitnetop dna ,noitasrevnoc ,noitIalooked lpmetnin ocmy rof rear-view selcihev smirror a ”enimand rof saw moowhat r ekalooked m like a scar tree that marked the passage to the water. Tellingly, .tnemeIgdidn’t agne esee rutuitf on the way in. I had entered with dehsilbatse( llewhtoB ni mraF ohtaR colonial ,desae ignorance evah snoitand cirtsleft er lewith vart colonial taht woNguilt. Although we cannot undo, erase, gnirud depoleved krow evitamor rofdeny rep wthe en apast, —ytrawe P rcan ennidisrupt D eh T tsthe oh lcontinuity liw )2281 niof the unknowing. This process of

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detivni eb lliw ytinummoc lacol eht ,niagA .1202 tneve ehT .krow eht ni stnega yek sa etapicitrap ot eht fo moor gninid lanigiro eht ni ecalp ekat lliw lainoloc ylrae htiw dellfi si hcihw ,daetsemoh enigami ylno nac enO( .sgnittfi dna erutinruf tuohguorht gnipees amard dna seiromem eht eht taht depoh osla si tI ).sllaw dna teprac eht eht ecrofnier lliw laem eht fo ecnedaced evitaler si taht trofmoc lainoloc dna egelivirp tnerehni siht ,yltnettimretnI .yalp ta ylsuoucipsnoc os hcae htiw ,detpursid eb lliw trofmoc suoucipsnoc fo seires a morf noitseuq a gniksa tseug rennid eugolaid ekovorp ot dengised sdrac edamdnah rennid eht ta noitcaretni sihT .gnillet-hturt dna wen a ni detneserp retal dna dedrocer eb lliw elbat ni detelpmoc eb ot eud si krow sihT .noitarugfinoc fo ecneirepxe siht ,yltnacfiingiS .2202 etal ot dim gnirud ssecca etis detimil htiw noitcudorp citsitra .segnellahc detneserp ylbairavni sah cimednap a latigiD .seitinutroppo wen delaever osla sah ti teY eb ot elba eb won lliw krow siht fo snoitatneserper .emit dna ecaps ni erehwesle yllaitaps dezilairetam

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Tania Blackwell Whitewashed and encounters enables a deeper connection noitcWhitewashed ennoc repeed a selbanememorialising sretnuocne dnthrough a snoitcaactions hguorhand t gnencounters isilairomemenables dehsconnection awetihW llewkcalB ainaT Tania Blackwell memorialising through actions a deeper History, 2021, Film still (detail), liated( llits memory mliF ,1202 ,y rotsiH time, reconfiguration of the self. It,)enables History, 2021, Film y rom emstill sel(detail), bane tI .fles eht foto nothe itarintangible, ugfinocer aand ,emiin t ntime, i dna aa,ereconfiguration lbignatni eht otof TRT:23:00 to the intangible, and in the self.

It enables memory 00:32:TRT TRT:23:00 to be threaded through our entire being, lest it ever be forgotten.

.nettogrof eb revetotibe tsethreaded l ,gnieb ethrough ritne ruoour hguentire orht dbeing, edaerhlest t ebitoever t be forgotten. encounter and exchange, exchange, early earlyiterations iterationsof of fo snoitareti ylrae ,egnahcxe dna reFollowing tnuocne ,ethis cneiexperience, repxe siht gnencounter iwolloF and Following this experience, reading The Guide to Remembering Rememberingbook. book.While While elihW .koob gnirebmemeR ot ediuthis G ehproject T gnidainvolved er stnapiparticipants citrap devlovreading ni tcejorThe p siGuide h t this project involved participants to black being read, participants were filmed filmedand andthen theninvited invited detivni neht dna demlfi erew sthe tthe napsmall icitrap ,daerbook gniewas b saw koobread, kcalbparticipants llams eht were small black book was being reading the book. responseswere wereraw raw war erew sesnopser tnapicitrto atoP comment .koob eht during gduring nidaeror reafter fta roreading gnirud tthe nem moc Participant oParticipant t comment or after book. responses and Suzie put it, for example, “we “wedo dopush pushititto tothe the eht ot ti hsup od ew “ ,elpmaxe ro f ,tifelt tupauthentic. eizuS tnapAs icitparticipant rap sA .citnSuzie ehtuaput tlefit, dnfor a example, and felt authentic.

As participant itbis issdquite quite confronting”.

For participant participantTaj, Taj,“Terra “Terra arreT “ ,jaT tnapicitrap roF .”gback nitnoof rfnour oc eminds tiuq sibecause ti esuaceit nim rconfronting”. uo fo kcab For back of our minds because is so problematic so arrogant. arrogant. To Tothink thinkthat thatno noone one eno on taht kniht oT .tnagorra osNullius dna citis aismsomething elborp os sthat i tahis t gso nihproblematic temos si suiand land luNso Nullius something that land before you got there”.

It is is from fromthis thisposition positionof of fo noitisop siht morf si tI .”erwas eht toccupying og uoy eroafaepiece b dnalof eceibefore p a gniyyou pucgot co sthere”. aw was occupying piece offoland It seek deeper recognition of the the narratives narrativesbeing beingrevealed. revealed. .delaever gnieb sevitarran eht fo novulnerability ivulnerability tingocer repethat ed a IIkwould ees dluseek ow I aatadeeper ht ytilibrecognition arenluv of that would research seeks to present present aa new new memorial memorialtypology typologyof of fo ygolopyt lairomem wen a tneserp ot My sMy keeongoing s hcraescreative ecreative r evitaerresearch c gniognseeks o yM to ongoing social exchange and collective encounters encountersthat thatcan canbe be eb nac taht sretnuocne evitcelloclandscape dna egnahderived cxe laicthrough o s hguorsocial h t deviexchange red epacsand dnalcollective landscape derived through the ofdany any one or place. place. At Atits itscore, core,the theproject project tcejorp eht ,eroc sti tA .ecalp ro ettransferred is eno yna fbeyond obeyond seiradn uobboundaries eht dnoyebof erreone fsnasite rsite t or transferred the boundaries highlights the of the thefrontier frontierwar war raw reitnorf eht fo noitingoceis r fabout o kcal truth eht sttelling hgilhgiand h dnhighlights a gnillet htthe urt lack tlack uobof aofsrecognition irecognition of is about truth telling and These narratives are not meant meant to tobe becomfortable. comfortable. .elbatrofmoc eb ot tnaem ton ethat ra seoccurred vitarran ein sethis hT .nregion. oiger sThese iht ni dnarratives errucco taare ht not that occurred in this region. these atrocities through poetic provocation. provocation.IIaim aim mia I .noitacovorp citeop a hgIn uothe rthe ht sact eitiof coremembering rta eseht gnirethese bmematrocities er fo tca ethrough ht nI aa poetic In act of remembering and acknowledge the history. II believe believethat thatisisthat that taht si taht eveileb I .y rotsih eto htdisrupt egdelwocolonial nkca dncomfort a trofmoand c laiacknowledge noloc tpursidthe ot history. to disrupt colonial comfort engaging in the project and its its ‘poetic ‘poeticprovocations’ provocations’ ’snoitacovorp citeop‘ sti dna tcthrough ejorp ehparticipating t ni gnigagne and dna engaging gnitapicitin rapthe hgproject uorht and through participating and that experience of memorialization memorializationmight mightembed embed debme thgim noitazilairomem fo(as ecnaaetool irepxfor e eremembering), ht taht ,)gnirebm emthe er ro f loot a sa(of (as tool experience participate.

It isothrough through participatory participatorypractice practicethat that taht ecitcarp y rotapicitrap hguorhton si ataIdeeper .etapicilevel trap tfor ahtthose esohtthat rof lparticipate. evel repeedIt an on deeper is resonate far deeper deeper level levelthan thanvia viaphysical physical lacisyhp aiv naht level repeed raf knowledge aknowledge no etanoseand r thtruth-telling gim gnillet-hmight turt dnresonate a egdelwon oon nkaa far ,ecalp dna emit dnecsnart thgimmemorialization ygolopyt lairomealone. m sihTThis .enomemorial la noitaziltypology atypology iromemmight might transcend transcendtime timeand andplace, place, memorialization .gnieb ruo fo tnorferof eht o t gnin iredoing bmemso, er fbring o tca the eht gact nirof b ,remembering os gniod ni dnto a the and remembering to the forefront forefrontof ofour ourbeing. being. and in ot y rt ot llewhtoB ni ycnediser a dePrior nnalptodthe ah Ipandemic, ,cimednapIehad ht otplanned roirP aa residency planned residency in in Bothwell Bothwellto totry tryto to taht hcus—noitapicitrap laicosbroaden hguorhtthis y rotconnection sih eht ot nto oitthe cenn oc sihtthrough nedaorbsocial through social participation—such participation—suchthat that broaden history decneirepxe I hcihw taht taht gan llet-hturt ot sense noitceof nnconnection oc fo esnes to elbtruth-telling arapmoc a that truth-telling that that that which whichIIexperienced experienced a icomparable comparable hcus ,snoitcennoc derahs hguorhcould t tahtbe saw mby ia yothers. m ,ereHHere, .srehmy to yaim b tlewas f ebthat dluothrough c felt that through sharedconnections, connections,such such could shared dna tneserp emoceb dna gnknowledges ieb ruo ni demight ddebmbecome e emoceembedded b thgim sein gdour eour lwobeing nk and being and become becomepresent presentand and knowledges eht ypucco ot eunitnoc dnal eht fchallenge ochallenge ton esohperceptions t sa( egelivirpoffoprivilege snoitpec(as repthose egnelnot lahcof those not of the the land land continue continueto tooccupy occupythe the etacinummoc ot sdohtem evitanretlandscape). la desived IDue ,ytilito bolimited m detimmobility, il ot euD I.)devised epacsdnalternative al landscape). methods devised alternative methodsto tocommunicate communicate eht ot detaler shpargotohp dwith na sethe gamcommunity. i fo seires a ,First, tsriF .aytseries inumm c eht htand iw photographs with the ofoimages images and photographsrelated relatedto tothe the dna sbuh ytinummoc lacol otproject deliamwere dna printed sdrac llaon mssmall no decards tnirp and erewmailed tcejorpto project mailed to local local community communityhubs hubsand and detnemgua epacsdnal lacol eht fosurrounds. segami dedThese ulcni sprovocations noitacovorp eincluded sehT .sdnimages uorrus of surrounds. images of the the local local landscape landscapeaugmented augmented ot dehsiugnitxe erew sevil“ sa hcwith us stwords nemetsuch ats roas ”g“haunting” nitnuah“ saor hcstatements us sdrow htsuch iw as with words statements such as “lives “lives were wereextinguished extinguishedto to laitnetop dna ,noitasrevnoc ,noimake talpmroom eroom tnoc for rof mine” selciheas v svehicles a ”enim for rof contemplation, moor ekam make conversation, contemplation, conversation,and andpotential potential .tnemegagne erutuf future engagement. future dehsilbatse( llewhtoB ni mraF ohtaR ,desaNow e evathat h sntravel oitcirtrestrictions ser levart tah t woeased, N have eased, Ratho Ratho Farm Farm in in Bothwell Bothwell(established (established gnirud depoleved krow evitamin ro1822) frep wwill en ahost —ytrThe aP rDinner enniD eParty—a h T tsoh lnew liw )2performative 281 ni in 1822) work performative work developed developedduring during

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2021. Again, the local community will be invited 2021. Again, the local community will be invited to participate as key agents in the work. The event to participate as key agents in the work. The event willtake takeplace placeininthe theoriginal originaldining diningroom roomofofthe the will homestead,which whichisisfilled filledwith withearly earlycolonial colonial homestead, furnitureand andfittings. fittings.(One (Onecan canonly onlyimagine imagine furniture thememories memoriesand anddrama dramaseeping seepingthroughout throughout the thecarpet carpetand andwalls.) walls.)ItItisisalso alsohoped hopedthat thatthe the the relativedecadence decadenceofofthe themeal mealwill willreinforce reinforcethe the relative inherentprivilege privilegeand andcolonial colonialcomfort comfortthat thatisis inherent soconspicuously conspicuouslyatatplay. play.Intermittently, Intermittently,this this so conspicuouscomfort comfortwill willbebedisrupted, disrupted,with witheach each conspicuous dinnerguest guestasking askinga aquestion questionfrom froma aseries seriesofof dinner handmadecards cardsdesigned designedtotoprovoke provokedialogue dialogue handmade andtruth-telling. truth-telling.This Thisinteraction interactionatatthe thedinner dinner and tablewill willbe berecorded recordedand andlater laterpresented presentedinina anew new table configuration.This Thiswork workisisdue duetotobebecompleted completedinin configuration. midtotolate late2022.

2022.Significantly, Significantly,this thisexperience experienceofof mid artisticproduction productionwith withlimited limitedsite siteaccess accessduring during artistic pandemichas hasinvariably invariablypresented presentedchallenges. challenges. aapandemic Yetitithas hasalso alsorevealed revealednew newopportunities. opportunities.Digital Digital Yet representationsofofthis thiswork workwill willnow nowbebeable abletotobebe representations materializedspatially spatiallyelsewhere elsewhereininspace spaceand andtime. time. materialized

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Tania Blackwell Alexander Reid and The Black War, 2020, Digital photograph with text

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Drawing Wonder: A Phenomenological Investigation into -isauSite–Responsive q dna cigoloisehtsena“ ot eud ydob tlef eht ni hcihw ,enot cirehpsomta sihT ”.ytilibisnes ylgniht ,sgniht-isauqDrawing fo secnadroffa eht htiw desuffus si 41

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dieR rednaxelA llewkcalB ainaT latigiD ,0202 ,raW kcalB eh T dna txet htiw hpargotohp

Kiera O’ Toole Day 3 Drawing Wonder III, 27th July 2019, Chalk, algae and sea water on concrete structure, Dimensions variable, Dunmoran Strand, Sligo, Ireland Kiera O’ Toole Day 4 Drawing Wonder III & Drawing Wonder IV, 27th July 2019, Chalk, algae and sea water on concrete structures, Dimensions variable, Dunmoran Strand, Sligo, Ireland

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How might one create a holding space for wonder through the act of drawing? And how might one create a space of unknowingness while being in a state of awareness to find meaning in the lived experience? ‘Drawing Wonder’ is part of an ongoing public art project, titled, Office of Public Wonder (Fig.1). In this iteration, a series of site-responsive drawings attempts to affectively involve the viewer through their pathically felt body and invites the viewer to consider how one feels in their environment. The term ‘site-responsive’ is utilized in this research as it alludes to how the felt-body reacts to the site as an inherent part of the art making process rather than site specific, which can be site-orientated, site-related or sitereferenced.1 ‘Drawing Wonder’ (Fig. 2) observes a Socratic concept of wonder as the reflective mind in wonder that is transfixed and simultaneously restless and unknowing, rather than a wonder that is tied to the unintellectual, the fantastical, the religious or the notion of the Sublime.2 My art practice employs phenomenology as a philosophy for research to examine how drawing can intuitively record the expressive qualities and ‘emotional vibrations’ of a site’s atmosphere through the felt body. By taking a phenomenological attitude, the drawings in this project become a device for perceiving and understanding the hidden aspects of a site.

The practice of drawing as research in this instance extends beyond the atmosphere of the studio to everyday public spaces and will illustrate how drawing has the capacity for ‘us’ to pathically experience ‘our’ being in the world.3 New Phenomenologist Tonino Griffero’s concept of ‘pathic aesthetics’ underpins my practice and research in his theorization that there is meaning already in the world.4 Here, the concept of aesthetics refers to the original intention for aesthetics by Alexander Gotielb Baumgarten’s (1714–1762) ‘sensible aesthetics’ as the foundation of experience.5 Aesthetics as being ‘pathic knowledge’ supports my research and offers insight to my thinking and ways of making. For Griffero, ‘pathic’ does not refer to pathetic or pathological but rather a letting go where one is ‘subject to’ rather than “subject of.”6 Griffero’s concept of pathic is understood as the “affective involvement that the perceiver feels unable to critically react to or mitigate the intrusiveness of.”7 In other words, we are open to what happens to us rather than what we do. Griffero states that a person who is pathically involved cannot wonder about their meaning of their involvement but only respond to wonder based on their pathically felt body. Both pathicity (immediate and involuntary) and wonderment (reflective) require being open to disorientation in the everyday. Therefore, to create a space for meaning whilst drawing in-situ, I must be ‘subject to’ the site’s atmosphere in what Griffero calls the ‘chaotic multiple of experience’ and what phenomenologist Max van Manen refers to as the changing ‘moods of landscape’.8

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,ssecorP ,rednoW gniwarD elooT ’O areiK retaw aes dna redwop eagla ,klahC ,9102 snoisnemiD ,serutcurts setercnoc no ,ogilS ,dnartS naromnuD ,elbairav dnalerI

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si gniward‘ taht esimerp a gnidivorP harobeD rehcraeser-renoititcarp ’,ygolonemonehp setats eht fo noitallicso eht setalucitra ylhcir ytraH ssecorp gniward eht nihtiw srucco taht ssenerawa fo eht dna dnuorgkcab sa tnemnorivne eht neewteb hcraeser ym ot lacitirC 9.gnikam kram fo ssenerawa evitanretla na gnieb ereht fo sisehtopyh eht si a edivorp thgim taht ’serehpsomta‘ fo tpecnoc si tahw fo tnuocca lufgninaem erom dna rehcir ’tnemnorivne‘ ro ’dnuorgkcab‘ sa derrefer yllausu hguorht etartsulli llahs I .ssecorp gniward eht nihtiw fo yhposolihp eht woh ’etis‘ htiw tnemegagne ym gnidnatsrednu laciteroeht a sedivorp serehpsomta eht no erehpsomta s’etis a fo ecneuflni eht fo devil‘ yady reve eht ni sleef eno woh sa ydob tlef nac serehpsomta ,emhöB ot gnidroccA ’.ecaps ralucitrap htiw secaps eugav sa deziretcarahc eb yB 01.deviecrep dna decudorp eb nac taht sdoom utis-ni hguorht enot cirehpsomta eht gnidrocer eht taht eugra I ,sgniward evisnopser-etis dna sa dlrow eht etaerc-oc‘ tsitra eht dna erehpsomta 11 ’.ti ward ew deit si gniward ot hcaorppa cihtap ehT eht ,ydob tlef eht gninaem ,egdelwonk cihtap ot egdelwonk ticat rieht dna reward eht fo ecneserp evitcefler-erp a ni snoitautis tnegnitnoc nihtiw fo sessecorp gniward eht ,eroferehT .rennam sdrocer gniward evisnopser-etis dna utis-ni gniward sa erehpsomta s’etis a fo ’snoitarbiv lanoitome‘ eht evitome dna esnes cihtap‘ eht hguorht deviecrep tcepsa eroc A 21.reward eht fo ’gniwonk fo ytiladom eht si tcejorp ’scitehtsea cihtap‘ s’oreffirG fo evah hcihw ’sgniht-isauq‘ ro seititne flah fo noiton .serehpsomta ni etaidar taht seitilauq evisserpxe era )thgiliwt ,epacsnwot ,dniw ,.g.e( sgniht-isauQ segde on evah yeht dna tneserp eht ni tlef syawla serehpsomtA 31.cidarops era dna ,mrof dilos ro ralugnis dna cfiiceps a sa yllanoitome su tceffa nrecsid ot elbissop si ti taht hcus enot lautpecrep sretsiger ti sa segnahc enot cirehpsomta s’etis a woh

The practice of drawing as research in this instance extends beyond the atmosphere of the studio to everyday public spaces and will illustrate how drawing has the capacity for ‘us’ to pathically experience ‘our’ being in the world.

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Providing a premise that ‘drawing is phenomenology,’ practitioner-researcher Deborah Harty richly articulates the oscillation of the states of awareness that occurs within the drawing process between the environment as background and the awareness of mark making.9 Critical to my research is the hypothesis of there being an alternative concept of ‘atmospheres’ that might provide a richer and more meaningful account of what is usually referred as ‘background’ or ‘environment’ within the drawing process. I shall illustrate through my engagement with ‘site’ how the philosophy of atmospheres provides a theoretical understanding of the influence of a site’s atmosphere on the felt body as how one feels in the everyday ‘lived space.’ According to Böhme, atmospheres can be characterized as vague spaces with particular moods that can be produced and perceived.10 By recording the atmospheric tone through in-situ and site-responsive drawings, I argue that the atmosphere and the artist ‘co-create the world as we draw it.’11 The pathic approach to drawing is tied to pathic knowledge, meaning the felt body, the presence of the drawer and their tacit knowledge within contingent situations in a pre-reflective manner. Therefore, the drawing processes of drawing in-situ and site-responsive drawing records the ‘emotional vibrations’ of a site’s atmosphere as perceived through the ‘pathic sense and emotive modality of knowing’ of the drawer.12 A core aspect of Griffero’s ‘pathic aesthetics’ project is the notion of half entities or ‘quasi-things’ which have expressive qualities that radiate in atmospheres.

Quasi-things (e.g., wind, townscape, twilight) are always felt in the present and they have no edges or solid form, and are sporadic.13 Atmospheres affect us emotionally as a specific and singular perceptual tone such that it is possible to discern how a site’s atmospheric tone changes as it registers

ecitcarp ehT sa gniward fo siht ni hcraeser sdnetxe ecnatsni eht dnoyeb eht fo erehpsomta yadyreve ot oiduts dna secaps cilbup woh etartsulli lliw eht sah gniward ot ’su‘ rof yticapac ecneirepxe yllacihtap ni gnieb ’ruo‘ .dlrow eht

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gureoftArhectalrPeednn f oewciaMps1 gnidloh a etaerc eno thgim woH lad nn oitA aco?LgdnniawtraArcdfiifceopStc eta iS e ,rh ehttoh nA Oo ,nw owrKon :dnalgnE ,nodnoL & sttesuhcassaM ,egdirbmaC( ytitnedI stisMen erawa fo etats a ni gnieb elihw ssengniwonknu fo ecaps a etaerc eno thgim woh .1 ,)4002 ,sserP nialbufSoethrt arepftAs:ire’drneodWngonW iw,daoryD ire2pxe devil eht ni gninaem dnfi ot :hggrn ubio nigdn E(oem imiaglcneR lL‘e? veeic venne eG nidE seires a ,noita.6r1e,t)8i1s0i2h,stsenrPI y.)t1is.rgeivFin(UrhedgrnuobW cilbu P fo ecffiO ,deltit ,tcejorp tra cilbup sdohteM gniviG –gninaeM ,ecitcar P fo ygolonemonehP ,nenaM nav xaM 3 onrlhaW t r( egnwiteirW iv denha thceravelsoeRvn veim tcoeneffhaP noit stpmetta sgniward evisnopser-etis fo :AC ,keh ergCutu laiciy golle on 86h2 ,r)4 .cn rieht ni sleef en.o172w–o e1d02is,n oIc,sosetrPretswaoeCivfteeLht setivni dna ydob tlef yllacihtap rieht ,serehpsomtA ,secnadroffA ,secalP ot drawerof ,oreffirG oninoT 4 er:nsoidhnton ztisleiAtucihstai P’eAvisnopser-etis‘ mret ehT .tnemnorivne .xi ,)s0e2d 02u,lelgadetlitusoaR h :kcrorYae wseN L i.sd citeeh luaP-naeg J .n snik arat m ,erethrpa som tAtfofoscittrehatp seAtn eheTre ,.h den,iem eh nhaösBatoentriesG e5ht ot stcaer ydob-tlef eht woh ot .19 ,)7102 ,egdeltuoR :kroY weN :nodnoL( duabihT -etis ro detaler-etis.se,rdeheptsaom tntAei,sreocn-aedtriosffAeb,sencaalPc,ohrceffihirG w 6,cfiiceps etis naht rehtar ssecorp arafPoehtTp,esgcnn ihoTc-iscaiutQaortcdorS owaersoe fv ,orreeffsib rGoo)n2in.ogTiF7( ’rednoW gniwarD‘ 1.decnerefer sa rfeodmngiodw ytisrevinU etatS :ynablA( sitnaS .eD haraS .snart ,serehpsomtA dna sseltser ylsuoena.itivlu,)m dreoYxfiwseNnafort si taht rednow ni dnim evitcefler eht 710i2s ,d ssn era Pk nehePh,tneontaM ,lacitsatnaf eht ,la.u96t2ce,ylgloelotnnem ineu deniatVs_i_t_a_h_t_re8dnow a naht rehtar ,gniwonknu :ytiugibmA gniwarD ni ”ecart laropmet gniliarT “ ,ytra2 H harobeD 9 ygolonemonehp syo,tlrpAm y raeroepc miettc na oCrp fo tsernaiLyeM ht ed.iesm eB ilbuS eht fo noiton eht ro suoigiler eht & sirueah Tt.Bd.Ir:onc od aSw lihoPh.deenimaxe ot hcraeser rof yhposolihp a sa enroyLl(ellvaihtsiruaM tnliesnsuaRc dgnna inwodawrd .56–15 ,)5102 ,dtL .oC hguorht erehpso.sm ta s’etis a fo ’snoitarbiv lanoitome‘ dna seitilauq evisserpxe erehpsomtA fo scitehtseA eh T ,emhöB 01 nti c yd oTaard sa egh nitwa,e rD 11 onehp a gnikat yB .ydob tlef eht eojoBrephtsginhiptpnaM i srgofnliow d“u,ntiiltdtiamlhaccS iegconelrounaLem evitaroballoC dna evitcelloC ni ecalP dna ,ecapS ,ydoB ni ”ecapS .etis a fo stcepsa neddih eht gnidnatsrednu dna gniviecrep rof ecived a emoceb :.p.n( daeR araS dna lliroG neleH ,xuaenruoJ lliJ .de ,gniwarD eht dn.o15y- e9b atssranloihsciShetgdniribhmcarCaeser sa gniward fo ecitcarp ehT 3 ,)s0d 20n2e,tgx niehseilcbn uP 962 ,ygolonemenehP ,nenaM naV 21 gniward woh etartsulli lli.w dna secaps cilbup yady reve ot oiduts eht fo erehpsomta .sgnih T-isauQ ,oreffirG ;serehpsomtA ,secnadroffA ,secalP ,oreffirG 31 weN 3.dlrow eht ni gnieb ’.riiu la4c1ihtap ot ’su‘ rof yticapac eht sah v ,osg‘ neihcTn-iesair ue Qp,oxre effyirlG niloC .snsan rti,pnroe itpden cru eP ’fs o cyigtoe loh netm ,yttnaopP‘-ufaoeltrp eM cio rucaM seonaehcPih ecen s’o5r1 effirG oninoT tsigolonemonehP .4 ,)5002 ,egdletuoR :kroY weN ,nodnoL( htimS nain,eacenm t atraDh“ t,ytnraoHithaazroirboeDeh6t1 sih ni hcraeser dna ecitcarp ym ”,noitan lsiny ard ta foesrsleacogrp eirespixee/r/genhiw .ldh/r/:osp tho.i)9t0 ytiislra evnin f tn n0e2t,n igUirhogueorhotbhogtuosLre,.fsesirDsDchitPe( htsea fo tpecnoc eht ,ereH 4.dlrow eht .11901/4312/ten.eldnah sa ’scitehtsea elbisnes‘ .)224267,y1g–ol4on1e7m1o(nse’hnPe,nternaagMmnuaVaB71bleitoG rednaxelA yb scitehtsea stroppus ’egdelwonk cihtap‘ gnieb sa .s9c62it,e.dhibtIse81A 5.ecneirepxe fo noitadnuof eht //gniward“ ,ytraH harobeD ;”ecneirepxe//gniwarD“ ,ytraH 91 ,oreffirGerhtofFo n.ogin tarioklpaxm e nafo,gnsiywaaw rd//d ygnoa longen mioknn ehih p t ym ot thgisni sreffo dna hcraeser ym ,sesosegcogrn p eitvtite itlepaerrfe oh latitanretotpulb acligaocloig neomloonh ehtpap ro citehtap ot refer ton seod ’cihtap‘ e|nYEoCeArReTh”w /selcitra/ku.ca.orobl.yrotisoper//:sptth .)2102 yraunaJ( lanruoJ6 d_onoa_tgsnriewdarn d_uygsoilocnieh mtoa nephpf_ogntip we arcdn /no oictubsi’ro tnroecff _lairnG ruoj ”.fo tcejbus“ naht rehtar ’ot tcejbus‘ si _evo ittitetpcea r_efor_y laliltnaectoipt_irlaccio gotloenleb maon neu hps_lee hte_ffor_env oiite arcorlpexp e eht taht tnemevlovni evitceffa“ eht sa 7415339/sessecorp 7 ot sneppah tahw ot nepo.9e62ra,ygeow lon,esmder neohw P ,rne enhatMonn aVI 0”2.fo ssenevisurtni eht etagitim ro natMse ntaa v txsaM devlo”v,gnniityirlW lalcaichigtoalopnesmi oonhehwP ngnoicsirtceaprPa“ ,tnaeh or1e2ffirG .od ew tahw naht rehtar su ,1 ygogadeP + ygolonemonehP dnop.0s4e:)r48y91l13n(92o4.1optnu b tnemevlovni rieht fo gninaem rieht tuoba rednow tonnac dnap/37192.01/gro.iod//:sptth dna etaidemmi( yticihtap htoB .ydob tlef yllacihtap rieht no desab rednow ot noitatneirosid ot nepo gnieb eriuqer )evitcefler( tnemrednow dna )y ratnulovni ,utis-ni gniward tslihw gninaem rof ecaps a etaerc ot ,eroferehT .yady reve eht ni citoahc‘ eht sllac oreffirG tahw ni erehpsomta s’etis eht ’ot tcejbus‘ eb tsum I sa ot srefer nenaM nav xaM tsigolonemonehp tahw dna ’ecneirepxe fo elpitlum 8 .’epacsdnal fo sdoom‘ gnignahc eht

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Kiera O’ Toole Drawing Wonder, Process, 2019, Chalk, algae powder and sea water on concretes structures, Dimensions variable, Dunmoran Strand, Sligo, Ireland

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:rednoW gniwarD lacigolonemonehP A otni noitagitsevnI fo dne eht ta skrawlub egrain l othe wt se i )v 3 body .giiF ’due redo nto op W rD‘– rofe ett iand si eh T felt “anesthesiologic s( n sgneiwaR SquasiogilS ytnuoC ni sdnalmraf dna thingly sniatnuo M xO eht yb This dednatmospheric uorrus dnarttone, S narowhich mnuD sensibility.” noisserpmi tsrfi a snekawa tis i fisuffused ylno neswith ohcg sthe in etiaffordances siaw ,etoa Nr .dD nofalquasi-things, erI fo tseW eht ni

rednoW gniwarD 3 yaD elooT ’O areiK aes dna eagla ,klahC ,9102 yluJ ht72 ,III snoisnemiD ,erutcurts etercnoc no retaw dnalerI ,ogilS ,dnartS naromnuD ,elbairav

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rednoW gniwarD 4 yaD elo0o3 Ty ’Oleatra eim K ixorppa sekat tIaffects .aera gthe nikfelt law bodily cilbup sense a raenofrothe no drawer detacolbecause si ti fi dna ,9102 yluJ ht72 ,VI rednoW gniwarD & III e h t o t n o y l t c e r i d n w a r d e r e w s k r a m l a i t i n i e h T . s k r a w l u b e h t o t k l a w o t setunim it “awakens an echo in her body and because etercnoc no retaw aes dna eagla ,klahC posit derrbody its sawelcomes w ydob tlethem.” f eht ne15hTherefore, w ylno ecafIru s etercnoc ,elbairav snoisnemiD ,seru.tecs urntses cihtap ym yb the dnalerI ,ogilS ,dnartS naromnuD 81

sreyaL .enot cirehpsom that drawing ta eatmospheric ht dekove ti nperception ehw esnes effects cihtap ethe ht d ezingocer I .klahc htiw gniward erofeboutcome deilppa given yllaitin i eredrawing w retawacan es d“record na redwthe op trace eagla fo that enil hcae hcihw hguorht ssof ecthe orpdrawer” evitiutniand na m oremotional f ssecorp gntone iwarof d ethat ht nageb I the 16 ylidob eht fo ecart a ,tca na satmosphere emoceb senand il evino titeother. per gn iThe warDatmospheric .txen eht defeeling mrofni -etis eht tuohguorhT .ssecisorrevealed p gniwarfrom d ehtthe rof initial fitomtimark el cisaon b athe dnsurface a ecneirepxe affective felt ,ecafrus etercnoc hguor ehwhich t no ekisoran b yimmediate llaunitnoc k lahc ehtand gniw ardbodily evisnopser the neddus sa llew sa ,noitpurretnexperience. i fo tca sihTTo .kl‘feel’ ahc foanskatmosphere cits wen yb d ecadrawer lper ylkciuq eht dedepmi ,yb-ressap a ymust b dehcbe taopen w gnieand b fopathically esnes eht (intuitively) ro sdnuos dattuned efiitnedinu eht fo ssenerawa etanni nato deatasite’s renegatmosphere, ssecorp sihTincluding .ssecorp gthe niwmaterial, ard eht fo wofl y ratnulovni dna evitceffa eht otemporal, t evitpeceand r gnicorporeal eb yllaunicharacteristics. tnoc elihw ssecorp gniward 91 Van Manen queries .erehow hpsobest mtato ehdescribe t fo ecneuflni ydaerla dna syawla egrahc cirethe hpsphenomena omta eht ,ylof suo verp dexperience etartsulli ewhich vah I sis A a ilived evisnopser-etis ehT .ydob tlef eh‘elusive’ t stceffaand nruproblematic t ni dna ssecoinrptrying gniwato rddescribe eht secneuflni pihsnoitaler lautpecrep evitalethings rroc ehbecause t elbisiv they sekam oba denoitnnothings. em sa sgn17iward areev‘no-things’; wetacan ni tneserp-oc si dna stceffa hciYet, hw rvan ewaManen rd eht dalso na eadvocates grahc cirehthat psom ehtcreate neewteb syawla si ti yaw ralucitrap a n‘some-thing’ i gnihtemos wthat ard describes I nehw ,erthe omrholistic ehtruF .pathic gniward eht devloser si gniward evisnoaesthetic pser-etisexperience ehT .etis ehof t hthe tiwperceiver. detargetnWhen i yllufgIndraw inaem ofosthat cihtap eht setadilav dnasomething reward ehtin fositu, ydobthe tlefperception eht ni sdnu er ti‘somenehw ylno 02 .’seitilibisnes ruo srits tahtthing’ hturt inevitably ro gnidnatinfluences srednu laitme nedone ive‘ way na saorecanother. neirepxe s’etis a gnizilairetam fo yaw aI drecord na ecnthe eireperceived pxe na fo d rocer a si gnthat iwaroccur d ,eroferehT affordances namuh eht fo noitatneserper a between etatilicafthe tonfelt seobody d gniw ardthe ehTenvironmental– .noitarbiv lanoitome and a fo taht si hcihw ,ecnetsqualia, ixe namnot uh ean htassociated fo mlaer tnrepresentation ereffid a snepooftub ehcysp etaerc ot tpmetta on neeb ssomething. ah ereht tceConsequently, jorp siht tuohgdrawing uorhT .ein-situ cneirepexpresses xe cihtap noitatneiro na llitsni ot si laomy g ehpathic t ,rehtaexperience R .sgniwarof d yarsite’s anoisuatmosphere. lli ro evitatneserper cisab eht nekawaer‘ ,syas nenaUsing M navpencil sa ,ot son secpaper, orp gnIiw ard evarious ht nihtiquasi-things w ssennepo fo draw elbmur ynnacnu eht rsuch aeh‘ as yam ewsounds, ,os gniothe d niwind, dna ’,or dlrthe ow elapping ht ecneof irepxe bird 12 .deniatsus eb yam tnemrethe dnosea w eall rehof w which ’ecaps gseemed nidloh‘ aelusive etaercand dnanever ecnetsixe fo wholly describable. The method of drawing in-situ expresses the gestural lines, the speed and direction of lines and the degree of pressure. These drawings are a way of attuning to the site’s atmospheric tone rather than sketching objects or preparatory designs for the site-responsive drawings.

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bulwarks at the end fo yof dob dna tcejorp y ranilpicsid-ssorc ,aidem-itlum ,gniogno1nMiwon a si tnKwon, emam ri FPlace After Another, Site Specific Art and Locational -ihstaiu qydtinvsite aelceighfor otlh o‘Drawing ehetlspepnaaWonder’ y(Fig. dIo,b telH eis f etwo ht nlarge i wThe tisiw r“goottedueden er3) One Massachusetts & London, England: Mit 41 Dunmoran Mountains tmciA re.hspsurrounded msteahscih tsCounty ipparT tSligo enalp ekil-htraE eht no detacol si hcihw otanoroM òlocciN tsitrIdentity a yb k(Cambridge, row ”.the bnison s yh lgcnih ihwt and farmlands in yhgcoihlowd,oehntoeStrand psaom aoTrby p p aytoiltiaOx roeM Press, 2004), 1. in the site only naihrgt-oof iesagIreland. ueqviftoanserecNote, aiheh tah tiuw pdeeesd uff utsiffsoit i awakens a first impression eht ni ’detacol‘ yas I ,ereH .)su morf yawa sraey thgil 04 ta 7102 n2i d erevocsLlyod, id( e1Reclaiming se,sihgWest p tnladfrooagffn tris echosen n eh Genevieve Wonder: After the Sublime (Edinburgh: Press, 2018), 16. and escifu ryem wanredvon eirhdtor ydlindaolbfowalking tlsegf neihdtasearea. trcd eff tcejor30 p rieht etacol hslaW enirehtaC dna olongiM retlaW hcihw ni yaw laEdinburgh noitnetnUniversity i h raaitecseisebrlocated sfaonear hesen peaascspublic naIt takes approximately 3 Max van Manen, Phenomenology of Practice, Meaning–Giving Methods minutes walk initial drawn directly cepbod n ylldeobulwarks. ehnn i onThe hac,rean aew flesonto ti ni gthe ninoitisop fo tca na ,si taht—kniht yeht erehw ecalp eht ni ytilaininoPhenomenological loced fo otaneosto ruoaM oto wasthe f benro id eay stsnaepkmarks hta“rotwere fi Research and Writing (Walnut Creek, CA: tfo isoysurface fetro eh T concrete tascem wt syudstirred osw b oehst by my pathic sense..ytilainoloc fo noitpecni eht ecnis ecalp taht fo y rotsih eht yb dekovorpLeft si Coast hcihPress, w Inc., 2014), 268–271. cpaIll,aefro eonly h twhen dn51o”p.m sthe eerhnfelt ebody woctalehwas 4 Tonino Griffero, foreward to Places, Affordances, Atmospheres, ncoeijtbpuewhen eahgpnsiokm ta-ptaatmospheric h I recognized the tone.18 Layers ron dne ton seod gnikniht rieht‘ taht egdelwonkca yeht ,os gniod ni ,yltn a c fi i n g i S nogitnaitwnaerid roethe fhot sspathic stecneff eveitsense screehpt cditinrevoked am mt A Pathic Aesthetics.

London: New York: Routledge, 2020), ix. oflaalgae ethrtedro cnand eirs“envseawater alecsgru noiwganwere ridtatrabhinitially elpmmoicstuyb obefore drawing with chalk. ’.ereht detac5 oGernot l ylnoBöhme, yeht eed., ra The Aesthetics of Atmosphere, trans. Jean-Paul evcear topowder itlance-veirgyapplied Thibaud (London: New York: Routledge, 2017), 91.

I began ecalpline taht fo y rotsih eht htiw ecalp a morf kniht ot si esnes siht ni6eGriffero, tacol oPlaces, T eht tfathe ohstnfdrawing oiteanzoitlaluaprocess tnpoeictonm ocefrom deehzticdan inroaintuitive t”sriehweasrudfprocess eerhdt nfoa through which each Affordances, Atmospheres.

7 Tonino Griffero, foreword to Quasi-Things, The Paradigm of gnileef cirthe next. ehpsom informed hittiosoopnrdunolines adenraehbecomes oitibodily sop eht sa yks eht fo ’edis‘ evitanretla na fo eciohc s’otanoroM .ti dno yeb dn a .tti aDrawing neihhtTiw61.nreorepetitive ep srseovm intua an act, a trace of nthe Atmospheres, trans. Sarah De. Santis (Albany: State University aforunand sorethsta nbasic aleitmotif m eh r si experience Throughout the d sitena segdelwonk cirtnecoeg ruo egnellahc ot tpmetta na si kniht ot hcofihNew wm orfPress, 2017), vii. laeccim ro uokrfo tnliaoiptin ehi tfor tntthe em iroordrawing -fed r eolTaeveprocess.

York yliedhotbydrawing eo vittchalk fftaaecontinually emrm ishbw responsive the the yks a si tluav tsipparT ehT .htraE no secnatirehni ruo fo thgiew 8eh______Van t morf kniManen, l-ed Phenemenology, 269. ftiltesfydmnead scieo ntoariodM ofinnbroke oaitsaivhrceon o rough concrete surface, 9 Deborah Harty, “Trailing temporal trace” in Drawing Ambiguity: w happssosticks etei fe‘ vorTeThis act pyk xeinterruption, quickly replaced as well as regsudden nol on defiitnedi ylsuoiverp srats fo snoitacol eht erehw ,noitatneirBeside o onthe htLines iw of Contemporary Art, ergen aahrd c seihhtTeby .reecnew cmiltbaunpaof s’alchalk. s.ebcondeniraeof s deenvu yslslaesense cniihm tarpeof unidentified or lanigithe ro rieht ev res regnol on deppam neeb evah taht snoitalletsnoc ehted. dnPhil a tsSawdon ixe and Russel Marshall (London: I.B. Tauris & ittattair)oysounds hletvuiati,uetln gin( ithe ddnnbeing ua enveip twatched coeepbsrtespum fby o a passer-by, impeded Co. Ltd, 2015), 51–65. airedrawing taamfleehst igprocess. i b,edrelrprocess hopwsoem flow of,lthe ,spoofhsthe krow ,ecnamrofrep ,skrow oediv ,sgniward fo stsisnoc tnem10 amBöhme, ri F .seThe sop rup onsildauslictnuThis httafgenerated oss’egtnisidaaoertan innate awareness Aesthetics of Atmospheres. sctitwswhile isrgen tciracontinually ocad,nreceptive aoi,tlcaurortpsm drawing being lla hcihw fo snoitalumrof elpitlum eht ,ecnegilletni laicfiitra11dnLaurence a noitaSchmidlin, llatsni “Drawing as a Tool for Mapping the Body in wen process a ti.h brahhccihlawerhotpyrm noeto ct the affective and involuntary in Body, Space, and Place in Collective and Collaborative eobTir.ctof tesveobmweow h tsaehi19rtesunqonitepneacM influence the eht erongi ton seod noitacol sihT .e1- tsipparT no detacol tniop egatnavSpace” a emu ssa ssneid agoatatmosphere. non ceaV rp fo tes Drawing, ed. Jill Journeaux, Helen Gorill and Sara Read (n.p.: sm i heIcohave ithawnoeillustrated eir,eyp sa already desiugsid msilainoloc fo hcaer eht taht dneterp ro htraE no efil fo sCambridge noitidnoScholars c secarbAs rconM tixliebd apreviously, tesvnili as’ftoceajn othe repmeoatmospheric hnteehrpusenhet charge always and Publishing, 2020), 39 -51.

12 Van Manen, Phenemenology, 269. influences oetngon ehltbiin orp ’reovbiasu ec‘ felt body. The site-responsive nretseW retneced ot skees ti daetsni tub ,ecaps otni dnetxe ton seod noitarolpxe eht seabwircsthe ase,dsrdrawing itiiytcrtaprocess rnpi rceithatm oand w sturn ndonitaaaffects lllothe 13 Griffero, Places, Affordances, Atmospheres; Griffero, Quasi-Things. drawings the perceptual relationship n ;n’A sgenm ihm tabove -oarng‘ oerrmakes t visible eseuhatch eb sgecorrelative nsiahct .’shtraE‘ tnereffid ,elpitlum enigami dna esr14 uoGriffero, csid cfiQuasi-Things, itneics vii. paM 7e1.vsigtanas nihrmentioned ettolA pa cyielh bu p tiw etatnerecm naam catmospheric tao hrtfsdeetatrccharge aw nthe eensraedrawer M tefYo affects and is co-present between the ytivarg / ein crof eht ta tniop ot su selbane tnemamri F fo emarf lacit15 ylaMaurice na ehTMerleau-Ponty, Phenomenology of Perception, trans. Colin reiw Fm aopvedda hoand csilh vinnUaveh,which Smith (London, New York: Routeldge, 2005), 4. ircysbedI edraw ttaahru t c’something g-n ‘ a particular way it fis the drawing. when o yalways tivitcejbo demuserp eht era taht seirots dna shtym eht – sec16naDeborah tirehnHarty, i ruo “Drawing//experience, fo scaihbtbaAp tcFurthermore, siittsrialo,hoteahntosreobM ocihsta-ewmdonsain a process of translation,” University, 2009). https://hdl. w,a9r1d0I2 nneihnW epewith orPec.site. pxdensite-responsive caitiedhethsaeZa meaningfully drawing is resolved eht ,noitanimreted lacigoloib fo noitazilarutan deksam eht ,egdelwonk(PhD cfiitDiss., neicLoughborough s ointegrated d.nreovLiencird tenhetsefthe fnleesiryeThe m handle.net/2134/10911. emdonsait ‘ tsaresounds ittin peegthe cortetpfelt ,rubteism nm ithe ganrgidrawer hotrepmeo only -when body of pathic uesum eht fo ytilartuen dellaw-etihw eht ,yhpargoeg fo noitazila17 icaVan r dManen, etnemPhenomenology, ides thstitfroa nreoh heghuto hstand validates the.m 242. .relahctiotinrac reom en mrsiechunderstanding nt ehugflunoirh yltb,aothivweor n ’kgnihtthat stirs our sensibilities’. experience asyuaan daetsnI .s20ecnatirehni eseht fo gnikcipnu etaciled eht tpmetta ton 18seIbid., od tn269. emamri F swsa‘evidential ,koroew srietruth 19 Harty, “Drawing//experience”; Deborah Harty, “drawing// Therefore, of t esd eiscunalcarecord eh erutana dsite’s etcurtsnoc rieht weiv ot hcihw morf noitacol a htiw su sedivorp tcphenomenology//drawing, ejorp eht ,’ yev rurSucracdrawing toSt‘aahd ndiroff slaa d tIev.an sitencexperience iroep n oittd avrorand ecsebr oIa way of materializing an exploration of the emotional vibration. does em norroivf nsteThe aoyrdooM b talehfnot teba a representation of the human .sesrevinu evitanretla eniphenomenological gami dna potential of repetitive processes,” TRACEY| fo –slraetbnm em seohtdrawing odtn an tephotfacilitate hnsekerw ow Journal (January 2012). https://repository.lboro.ac.uk/articles/ psyche ancedifferent which is that n snewrp athe ilaeexistence, uhqt ytisoof iruac fo noitazitiroirp sti dna ssennepo sti si tnemamri F ot latnemadnjournal_contribution/drawing_phenomenology_drawing_an_ uF .snbut oiftoaopens llo etitsanto oerriedherealm ttaeinciogsof asm inoatthuman coinlb,uap exploration_of_the_phenomenological_potential_of_repetitive_ pathic sesserpoexperience. xtedunteisl -entiap gn uitqaetsiproject iThtemhas os been no attempt to ycreate na seined yllacinori flesti eltit ehT .egdelwonk dna ytirohtua revo red now dna iThroughout ciiwtraarpd o,ytltsneothis vnnoiCes.gen hthere processes/9335147 representative goal o-rm a isn’eatidsnaafdrawings. oreocwnefoireyp xoeb cginhitw athe p tpmetta ruo yllaicepse ,mrfi sniamer gnihton taht su gnidnimer ,20 ytiVan xfi Manen, ta tpm etta evi.tecreejhbpussor eillusionary tn k dRather, orygm a is to instill andeorientation Phenemenology, 269.

Phenomenological Writing,” of sopenness drawing as says, ‘reawaken gniht-filseasutwithin ocirthe ic nfo epevan nethe katbasic rednu saw noitarolpxe s’nam fo y rotsih eht elihW .tenalp 21 ruMax o revan vo Manen, lortno“Practicing c iqesvuih raavsw ihaTrd.sIn,oreiprocess tpaallpetnsonolto, vginhicsManen rUa Phenomenology + Pedagogy 1, no. 2 (1984):40. experience in we foeghnt igpnthe piadlloeworld,’ ht,sro eh tcc,sadfnoso, upoasm draimay bsesm a ‘hear h taht feileb a ni seil y revocsid rof tseuq s’otanoroM ,’tnemecnavda‘ fo ekhttps://doi.org/10.29173/pandp14931 as eht rof no,d iand tnailw um udoing oceubs the uncanny rumble dlnla create of existence and ‘holding space’ may be sustained.21 etamhetepsah fo tlllaaiatwonderment enseteohpt .yltnereffid evil dna kniht ,evom nac ew ylevitcelloc sihTr.esvpeanm senviasu tnleaocd mciahw ebwhere u nwo ym ot tsartnoc ni sdnats seuqitirc eh secived y rev eht fo gniloot-er siH fotissn-noi tgpneicwraerpdefhot dhoghutoerm htedheTta.erlb c asbi iyrkcseld aitynlleothow p nooitcaenroid nu ilnlagrnuitssaeegrcen hit-syeasswelrapnxae -hteitnewt sesu otanoroM .em ev res regnol on taht sloot eht nodnaba ot ycnednet rodMna.edlpeoeepps efohtre,sbem sgniwdaerw deeisveshaTsn .eoriutsaslleertpsnfooceefo rgsetdnem htgdan o gniredner ,sgniward sih rof slairetam sa strahc cirtemyhtab dna noitagivan y rutnec rfasstecn ejiol rfp a eorraf cfiitneics taht su sdnimer eH .snoitalletsnoc wen tolp ot hcihw nopu sesavnac meht gnitciivrneh i ,pssnoem ertcassd’entaissellhatwoot tgnnoineu1-ttasifpopyaarw Tm y ron taoriaspivenrp reshrteabrm eneo ni meht seirub eh dna ,gnikam-kram fo secnatsni evitcejbus era strahc dna spam e yrolesvtictceejblloocgnoithccitlebkuspneahhttfo mt iwilakrd d emoc ot spam wen gniwolla ,kni dna etihparg htiw meht nopu gnidliub ,tnemgip snoisiv rieh.stg,nek ooelvdisln uop c sneor-iteatlilseetshntorcofeshnt gtiashew .sucof fo tuo dna ni eht ot edils eht fo stimil eht dnoyeb gnidnapxe

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si gniward‘ taht esimerp a gnidivorP harobeD rehcraeser-renoititcarp ’,ygolonemonehp setats eht fo noitallicso eht setalucitra ylhcir ytraH ssecorp gniward eht nihtiw srucco taht ssenerawa fo eht dna dnuorgkcab sa tnemnorivne eht neewteb hcraeser ym ot lacitirC 9.gnikam kram fo ssenerawa evitanretla na gnieb ereht fo sisehtopyh eht si a edivorp thgim taht ’serehpsomta‘ fo tpecnoc si tahw fo tnuocca lufgninaem erom dna rehcir ’tnemnorivne‘ ro ’dnuorgkcab‘ sa derrefer yllausu hguorht etartsulli llahs I .ssecorp gniward eht nihtiw fo yhposolihp eht woh ’etis‘ htiw tnemegagne ym gnidnatsrednu laciteroeht a sedivorp serehpsomta eht no erehpsomta s’etis a fo ecneuflni eht fo devil‘ yady reve eht ni sleef eno woh sa ydob tlef nac serehpsomta ,emhöB ot gnidroccA ’.ecaps ralucitrap htiw secaps eugav sa deziretcarahc eb yB 01.deviecrep dna decudorp eb nac taht sdoom utis-ni hguorht enot cirehpsomta eht gnidrocer eht taht eugra I ,sgniward evisnopser-etis dna sa dlrow eht etaerc-oc‘ tsitra eht dna erehpsomta 11 ’.ti ward ew deit si gniward ot hcaorppa cihtap ehT eht ,ydob tlef eht gninaem ,egdelwonk cihtap ot egdelwonk ticat rieht dna reward eht fo ecneserp evitcefler-erp a ni snoitautis tnegnitnoc nihtiw fo sessecorp gniward eht ,eroferehT .rennam sdrocer gniward evisnopser-etis dna utis-ni gniward sa erehpsomta s’etis a fo ’snoitarbiv lanoitome‘ eht evitome dna esnes cihtap‘ eht hguorht deviecrep tcepsa eroc A 21.reward eht fo ’gniwonk fo ytiladom eht si tcejorp ’scitehtsea cihtap‘ s’oreffirG fo evah hcihw ’sgniht-isauq‘ ro seititne flah fo noiton .serehpsomta ni etaidar taht seitilauq evisserpxe era )thgiliwt ,epacsnwot ,dniw ,.g.e( sgniht-isauQ segde on evah yeht dna tneserp eht ni tlef syawla serehpsomtA 31.cidarops era dna ,mrof dilos ro ralugnis dna cfiiceps a sa yllanoitome su tceffa nrecsid ot elbissop si ti taht hcus enot lautpecrep sretsiger ti sa segnahc enot cirehpsomta s’etis a woh

eht detirehni eW snoitalletsnoc morf su evoba ,srotsecna ruo tuohguorht sraey fo sdnasuoht ,secneics lacitsym fo ,yhposolihp ,noigiler .scitilop dna lartsecna era yehT ot tnaem seiretsym .devlosernu yats sgnitirw eht era yehT fo gniliec eht no .evac ruo — otanoroM òlocciN

rolyaT acisseJ no 81 o25tanoroM òlocciN

Firmament

We inherited the constellations above us from our ancestors, throughout thousands of years of mystical sciences, religion, philosophy, and politics.

They are ancestral mysteries meant to stay unresolved.

They are the writings on the ceiling of our cave.

— Niccolò Moronato

Jessica Taylor on 5323 Niccolò Moronato

fo dofne eht ta skrawlub egral owt sHere, i )3 .giIFneed ( ’redn gniwawith rD‘ rthe of etlevity is ehTwith an1ongoing, multi-media, cross-disciplinary project and body tooW grapple lanoitacoL dna trA cfiicepS etiS ,rehtonA reftA ecalFirmament P enO ,nowK nois wiM tiM :dnalgnE ,nodnoL & sttesuhcassaM ,egdirbmaC( ytitnedI ogilS yTrappist tnuoC ni sdnalmraf dna which sniatnuMoronato oM xO ehapproaches t yb dednuomaps. rrus dnAamethodology rtS naromnuD work by artist Niccolò Moronato which is located on the Earth-like planet .1 ,)4002 ,sserP noisinsethe rpmi tsrfi a snekawa tof i fithe ylndeep o nesounearthing hc si etis a of ,etalternative oN .dnalerIgeographies fo tseW eht ni :hgrubnidE( emilbuS eht reftA :rednoW gnimialce-1e R ,d(discovered oylL eveiveneG in 2 2017 at 40 light years away from us). Here, I say ‘located’ .61 ,)8102 ,sserP ytisrevinintentional U hgrubnidE way in which Walter Mignolo and Catherine Walsh locate their 0project 3 yletamixorppa sekat tIand .aerreadings a gniklawofclandscape ilbup a raehas n rodriven no detmy acolresearch si ti fi dna sdohteM gniviG –gninaeM ,ecitcar P fo ygolonemonehP ,nenaM nav xaM 3 eht ointnitself o yltcerid nward erewforskthe rampast laitiyear, ni ehand T .skin raone wlubfell ehswoop t ot klaMoronato w ot setunim decoloniality in the place where they think—that is, an act of positioning :AC ,keerC tunlaW( gnitirW dna hcraeseR lacigoloof nem onehP ni .172–862 ,)4102 ,.cnI ,ssewhich rP tsaoC is fteprovoked L derritsus sathat w ydo b tcan lef erespond ht nehwto ylnthe o efallacy cafrus eoftercnoc by the history of that place since the inception of coloniality..esnes cihtap ym yb shows we ,serehpsomtA ,secnadroffA ,secalP ot drawerof ,oreffirG oninoT 4 srenor yaL 81.enot cirehpsom ta eht dekovand e ti nthe ehwsubjectiveness esnes cihtap eof htorientation dezingocer I Significantly, in doing so, they acknowledge that ‘their thinking does not end map-making .xi ,)0202 ,egdeltuoR :kroY weN :nodnoL .scitehtseA cihtaP A luaP-naeJ .snart ,erehpsomtA fo scitehtseA eh T are ,.de ,they emhöBonly tonrelocated G 5 .klahc htiw gniward erofebbydesimply ilppa yre-calibrating llaitini erew reourselves tawaes dnin a rorder edwoptoereveal agla fo there.’ .19 ,)7102 ,egdeltuoR :kroY weN :nodnoL( duabihT enilplace hcae hcihw hguorht ssand ecorrefuse p evitihistoricized utni na morfconceptualizations ssecorp gniward ehof t nthe ageb I .serehpsomtA ,secnadroffA ,secaTo lP ,olocate reffirG 6in this sense is to think from a place with the history of that fo mgidaraP eh T ,sgnih T-isauQ ot droweand rof ,orbeyond effirG oninit. oT Moronato’s 7 yliposition dob eht fo ecart a ,tca na suniverse emoceb and senilour evitposition iteper gnwithin iwarD it. .txen eht demrofni choice of an alternative ‘side’ of the sky as the ytisrevinU etatS :ynablA( sitnaS .eD haraS .snart ,serehpsomtA etis eht tuohguorhT .ssecorp gnTo iware-orient rd eht rothe f fitopoint mtielofciour sab astronomical a dna ecneirepxe .iiv ,)7102 ,sserPfrom kroY wwhich eN fo to think is an attempt to challenge our geocentric knowledges-and .962 ,ygolonemenehP ,nde-link enaM naV_ ____the _ 8 weight of our inheritances on Earth. The Trappist vault is ,ecaasky frus etercnoc hguor ehobservation t no ekorb ylfor lauMoronato nitnoc klah ehdemystify t gniward ethe visnopser from iscto :ytiugibmA gniwarD ni ”ecart laropmet gniliarT “ ,ytraH harobeD 9 edlonger dus sa llew sa ,noitpurretnsky i fo and tca sobserve ihT .klahitcas fopublic skcits space. wen ybThis decachange lper ylkciuq where the locations of stars previously identified nno ,trA y raropmetnoC fo sewith niL ehtno edisorientation, eB & siruaT .B.I :nodnoL( llahsraM lessuR dna nodexist waS lih P .dethe constellations that have been mapped no longer serve theireoriginal ht dedepmi ,yb-ressap a yof b dperspective ehctaw gnieundermines b fo esnes ehsingle, t ro sdauthoritative nuos defiitnedinu and .56–15 ,)5102 ,dtL .oC eht fo ssenerawa etanni nareadings detareneof g sthe secworld orp sihbut T .sis sealso corpitself gniward eht fo wofl purposes. Firmament consists of drawings, video works, performance, workshops, .serehpsomtA fo scitehtseA eh T ,emhöB 01 ni ydoB eht gnippaM rof looT a sa gniwarD“ ,ninstallation ildimhcS ecneruand aL 11artificial intelligence, the multiple formulations of which y ratn ulovni dna evitceffa eht oconstruction, t evitpecer gnaiemyth b yllawhich unitnobrings c elihwwith ssecit orap new gniward all evitaroballoC dna evitcelloC ni ecalP dna ,ecapS ,ydoB ni ”ecapS 91 .erewe hpsmove omtaagainst. eht fo ecTo neuflni assume a vantage point located on Trappist -1e. This location does not ignore the set of preconceptions that :.p.n( daeR araS dna lliroG neleH ,xuaenruoJ lliJ .de ,gniwarD ydaerla as dna syawla egrahc cireensure hpsomthe ta eproject’s ht ,ylsuoiinstability, verp detartMoronato sulli evah Iembraces sA .15- 93 ,)0202 ,gnihsilbuP sralohcconditions S egdirbmaC of life on Earth or pretend that the reach of colonialism disguised .962 ,ygolonemenehP ,nenaM naV 21 evisnWestern opser-etis ehT .ydob tlef ehcollaborations t stceffa nrut nwith i dnaother ssecopractitioners, rp gniward ehas t swas ecnethe uflni exploration does not extend into space, but instead it seeks to decenter .sgnih T-isauQ ,oreffirG ;serehpsomtA ,secnadroffA ,secalP ,oreffirG 31 pihsnoitaler lautpecrep evitalecase rroc ewith ht elthe bisipublic v sekam evoba denAn oitnAlternative em sa sgniMap ward and imagine multiple, different ‘Earths’. programme .iiv ,sgnscientific ih T-isauQ ,ordiscourse effirG 41 niloC .snart ,noitpecreP fo ygolonemonehP ,ytnoP-uaelreM eciruanalytical aM 51 ni tn serp-oc si dna stceffa hciofhw ward ehtwhich dna edeparted grahc cirefrom hpsom ta eht neewteb The frame of Firmament enables us to point at the force / egravity thereUniverse Firmament .4 ,)5002 ,egdletuoR :kroY weN ,nodnoL( htimS syawla sofi ti yaw ralucitrap a nand i gniwas htem os ward I nby ehMoronato, w ,eromrehartist truF .Abbas gniward eht – the myths and stories that are the presumed objectivity co-curated ”,noitalsnart fo ssecorp a ,ecneirepxe//gniwarof D“ our ,ytraHinheritances harobeD 61 .ldh//:sptth .)9002 ,ytisrevinU hguorobhguoscientific L ,.ssiD DhP(knowledge, the masked naturalization of biological determination, devthe loser si gniward evisnoZahedi pser-etand is ehmyself.

T .etis ePresented ht htiw dein tarLondon getni yllin ufg2019, ninaem .11901/4312/ten.eldnah cihtap eht setadilav dnathe rewprogramme ard eht fo ydbrought ob tlef etogether ht ni sdnartists uoser tand i nehw ylno of geography, the white-walled neutrality of the museum. .242 ,ygolonemsedimented onehP ,nenaM naracialization V 71 02 .962 ,.ddoes ibI 81 not attempt the delicate unpicking of these inheritances. .’sInstead eitilibisnes ruo srits tahtthinkers hturt ro who, gnidnthrough atsrednu laitnwork, ediveassume ‘ na sa eccritical neirepxe Firmament their //gniward“ ,ytraH harobeD ;”ecneirepxe//gniwarD“ ,ytraH 91 s’etis anature gnizilairetam fo yaw aobservation dna ecneirepoints. pxe na fIto also drocincluded er a si gniaw‘Star ard ,eSurvey’, roferehT eht fo noitarolpxe na ,gniward//ygthe oloneproject monehp provides us with a location from which to view their constructed |YECART ”,sessecorp evititeper fo laitnetop lacigand olonem onehp namuh eht fo noitatneserper a aetworkshop atilicaf tonthat seoMoronato d gniward hosts ehT .nfor oitmembers arbiv lanoiof tome imagine alternative universes. /selcitra/ku.ca.orobl.yrotisoper//:sptth .)2102 yraunaJ( lanruoJ a fo taht si hcihw ,ecnetsthe ixe npublic amuhto ehimagine t fo mlaetheir r tnerown effidconstellations. a snepo tub ehcysp to Firmament is its openness and its prioritization of curiosity _na_gniward_ygolonemonehp_gniward/noitubirtnoc_lanFundamental ruoj _evititeper_fo_laitnetop_lacigolonemonehp_eht_fand o_noitwonder arolpxe etaany erc ot tpmetta on neeb sah ereThese ht tcejo rp siht tuoto hgparticipate uorhT .ecnelend irepxto e cihtap over authority and knowledge. The title itself ironically denies invitations 7415339/sessecorp noattempted itatneiro na llitsni ot si laoag growing eht ,rehtbody aR .sgofniwork ward and y ranan oisinter-subjective ulli ro evitatneserper .962 ,ygolonemattempt enehP ,nenaat M fixity, naV 02 reminding us that nothing remains firm, especially our ”,gnitirW lacigolonemonehP gnicitcarPcontrol “ ,nenaM over nav xaM 12 planet. While the history of man’s exploration was undertaken cisab eht nekawaer‘ ,syas nenaarchive M nav sof a ,oconstellations. t ssecorp gniwThis ard earchive ht nihtiw ssennepo fo our itself .04:)4891( 2 .on ,1 ygogadeP + ygolonemonehP elbmur ynnacnu eht rbecomes aeh‘ yamaemap w ,osofgnaccumulations, iod ni dna ’,dlroholding w eht ecthe neirepxe for the sake of ‘advancement’, Moronato’s quest for discovery lies in a belief that 13941pdnap/37192.01/gro.iod//:sptth 12 .deniatsus eb yam tnemrepotential dnow ereto hwbe’ecaamap ps gnthat idlohcontains ‘ a etaerc all dnmaps. a ecnetThis sixe fo collectively we can move, think and live differently.

His re-tooling of the very devices he critiques stands in contrast to my own potential sky is created through the perceptions of tendency to abandon the tools that no longer serve me. Moronato uses twentiethan always-increasing number of people. Moronato century navigation and bathymetric charts as materials for his drawings, rendering projects fragments of constellations as viewed them canvases upon which to plot new constellations. He reminds us that scientific from Trappist -1e onto walls and screens, inviting maps and charts are subjective instances of mark-making, and he buries them in members of the public to collectively envision pigment, building upon them with graphite and ink, allowing new maps to come what the constellation could look like, their visions in and out of focus. expanding beyond the limits of the slide to the

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)pot( tnemamri F otanoroM òlocciN laocrahc ,etihparG ,9102 ,)liated( ,trahc lacituan no kni aidnI dna mc051 x 042 )mottob( ratS eh T otanoroM òlocciN ,9102 ,)tneve evil morf llits( yev ruS ,noitarud .nim 08 ,stnapicitrap 8 alreP anyzrataK :tiderc egamI

ruo ot deit si gnihtyna gniyfitnedi fo tca eht ,esruoc fO .noitacol fo stimil tsomretuo ratS eht ni gnitapicitrap fo ytivitca eht dna htraE no snamuh sa ecnerefer fo semarf ecneirepxe ruo dna pu kool eW .yks eht ni sepahs gnidnfi fo tnecsinimer si syev ruS tcejorp ew esiwekil dna ,su ot raeppa ot snoitamrof tnereffid swolla dlrow eht fo .secnatirehni dna snoitingocer nwo ruo noitcejorp eht otno syawla sah snrettap fo noitingocer eht taht tcaf eht otni gninael si otanoroM eht ta etouq eht ni desserpxe tseb ,roivaheb namuh fo trap a eb syawla lliw dna neeb morf su evoba snoitalletsnoc eht detirehni ew “ syas eh nehW .txet siht fo gninnigeb desare dna nward neeb evah snoitalletsnoc taht su gnidnimer si eh ”srotsecna ruo egdelwonk fo smetsys ,snoitidnoc namuh gniftihs rednu seirutnec rof nward-er dna -kram dna ,noitingocer fo stca era gnidaer dna gniknihT .snoitnetni lacitilop dna a si noitarolpxe fo y rotsih ehT .noitcejorp fo stca era gnikam-pam dna gnikam esohT .sepahs gniees dna yks eht ta gnikool fo y rotsih a si tI .shtym fo y rotsih neewteb htraE no ward ew taht snoitcnitsid dna seiradnuob eht ,si taht ,sepahs ,smaerd ,sfeileb ,secneirepxe ruo yb demrofni nrut ni era ,erutan dna snamuh .sraef dna syenruoj eht ecnis y rotsih sti morf noitacol ruo etarapes tonnac ew woh ekil hcuM eht morf ecaps fo sgnidaer ruo elgnatnesid tonnac ew ,ytilainoloc fo noitpecni ew ,ecnatsid laitselec/laciteroeht a morf ,revewoH .htraE fo noitazinoloc evitcartxe ;htraE no dniknamuh fo ytilartnec eht fo noitcurtsnoc lacigolohtym eht yev rus :nac ;htym taht rednu detcere noitcartxe dna noitazinoloc fo smetsys eht egdelwonkca yticilpitlum a dna ;snoitalletsnoc wen etinfini gninigami ni etapicitrap dna emoclew niamer dna ftihs taht esrevinu eht dna erutan ot noitaler ni ytinamuh fo sgnidaer fo ,esimorpmoc dna noitaitogen secarbme krow fo ydob a sa tnemamri F .mrfinu dna noitpecrep fo stimil eht laever ot redro ni seigolohtym fo gnireyal a gniyolpme yler nac ew hturt ylno eht ,otanoroM roF .snoitaler ruo fo seitilibissop etinfini eht .egnahc si no ekuD :mahruD( sixar P ,scitylanA ,stpecnoC :ytilainoloceD nO ,hslaW .E enirehtaC dna olongiM .D retlaW 1 .2 ,)8102 ,sserP ytisrevinU

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Niccolò Moronato and Space Visualization Lab of the Adler Planetarium Terrestrial constellations as seen from Trappist-1e, 2018, Equirectangular digital projection, Variable dimensions 733

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outermost limits of location. Of course, the act of identifying anything is ni tied edisto niaour tnuom a no(top) level aes evoba sretem 0004 ta ,9102 ni yad yluJ digirf a nO Moronato Firmament frames of reference as humans on Earth and the activity of participating ruoyingnthe irBStar “ ,su ot dias eNiccolò puahC leinaD ,sednA naivureP eht fo noiger acramajaC eht (detail), 2019, Graphite, charcoal Surveys is reminiscent of finding shapes in the sky. We look up and ouryexperience b deldduh eW ”.)deand inaIndia pmoink ccon a( nautical odañapchart, moca eb ot deen ew esuaceb ,ereh stsitra of the world allows different formations to appear to us, and likewise we project gof fo sknab esned 240 sa xes150cm uoh htrae demmar s’ ylimaf sih edistuo erfi nehctik eht (bottom) onto the projection our own recognitions and inheritances. hguorht deppihw d niw eht nehW .su fo tnorf ni os ro retem a tub lla derucsbo Moronato is leaning into the fact that the recognition of patterns tsehas solcalways eht no dehcrepNiccolò tsop eMoronato cnallievThe rusStar eht tuo ekam dluoc ew ,gof eht deftil dna Survey (still from live event), 2019, been and will always be a part of human behavior, best expressed in the quote eht tat ahthe t daor ssec8caparticipants, eht no h80 tromin. f dnduration, a kcab gnivird 4x4 etihw gib a dna edisllih beginning of this text. When he says “we inherited the constellations above us.from dnal s’ ylimafImage añuccredit: A-epKatarzyna uahC ehPerla t fo retemirep eht gnola tliub dah srenim our ancestors” he is reminding us that constellations have been drawn and stseerased torp ssam eht gnitciped gnitniap a saw llaw eht no gnignah ,su evobA and re-drawn for centuries under shifting human conditions, systems knowledge —yof nap moc gninim lanoitanitlum eht nehw 0102 ni dnal siht no ecalp nekat dah taht and political intentions. Thinking and reading are acts of recognition, and dahmark—su gnidnuorrus dnal fo seratceh fo sderdnuh fo noissessop dah won hcihw making and map-making are acts of projection. The history of exploration a ellik erew elpoep lareveS .ecrof yb ylimaf añucA-epuahC eht tcive ot deirt gniruis dd history of myths. It is a history of looking at the sky and seeing shapes. sthgThose ir retaw dna dnal dnuora tnemevom lanoitan a dezinavlag hcihw stsetorp esoht shapes, that is, the boundaries and distinctions that we draw on Earth between a ,amixáM ,rehtom s’leinaD .snoitaroproc gninim fo ytinupmi eht tsniaga dna humans and nature, are in turn informed by our experiences, beliefs,gdreams, nikat yllautneve ,tnemevom eht fo daeherugfi eht emaceb ,anisepmac dna revaew journeys and fears. .truoC emerpuS s’ureP ot yaw eht lla esac s’ ylimaf reh Much like how we cannot separate our location from its history ,lebsince iraMthe efiw sih dna leinaD htiw gof eht gnihctaw gnittis erew ew emit eht yB inception of coloniality, we cannot disentangle our readings of space from ehtthe now gnivah amixáM etipseD .sraey net tsomla rof gnigar neeb dah elttab eht extractive colonization of Earth. However, from a theoretical/celestial,6distance, 102 ni eziwe rP latnemnorivnE namdloG eht dedrawa neeb dna esac truoC emerpuS can: survey the mythological construction of the centrality of humankindoton euEarth; d ecnaligiv repyh dna ytniatrecnu fo etats a ni evil ot seunitnoc ylimaf eht acknowledge the systems of colonization and extraction erected under ,edathat ced myth; tsap eht fo esruoc eht revO .ecnalliev rus gnitnelernu dna staerht deunitnoc welcome and participate in imagining infinite new constellations; and ehat multiplicity ,stluassa lacisyhp gnidulcni noitucesrep tnatsnoc-raen dereffus evah ylimaf eht of readings of humanity in relation to nature and the universe that shiftfoand remain gnih silomed eht dna sporc rieht fo noitcurtsed eht ,slamina rieht fo gninosiop unfirm. Firmament as a body of work embraces negotiation and compromise, si dna sraey esoht gnirud ureP ni eman dlohesuoh a emaceb amixáM .esuoh rieht employing a layering of mythologies in order to reveal the limits of perception dna tnemesand sarah htob tnaem sah tahT .seog ehs erehwy reve tsomla dezingocer won the infinite possibilities of our relations. For Moronato, the only truth rely na we gnican eb fo sserts eht yb no thguorb ssenlli osla tub sdrawa lanoitanretni ;noitaroda on is change. ,rethguad dna efiw sih htiw dnal eht no sevil ohw ,leinaD .erugfi cilbup lanoitnetninu a si gnimraf taht ,elitref si lios kcalb eht taht evorp ot ,dnal eht mraf ot stnaw tsuj 1 Walter D. Mignolo and Catherine E. Walsh, On Decoloniality: Concepts, Analytics, Praxis (Durham: Duke .dlog naht tnatropmi erom si retaw taht dna ,efil fo yaw elbon University Press, 2018), 2. y ranilpicsidretni fo puorg a sekat raey hcae taht noitazinagro na si IPAWAH ,latnemnorivne ,laicos ,lacitilop( elggurts ralucitrap a erehw ecalp a ot srenoititcarp ot si noissim y ramirp s’IPAWAH .efil yliad ot lartnec si )gnippalrevo lla nefto tciflnoc fo setis ot detaler krow htiw tnemegagne rieht nepeed ot stsitra egnellahc dnuora snoitasrevnoc cilbup decnaun erom poleved ot redro ni elggurts ro stsitra gnidivorP .sretnec nabru rojam dnoyeb seitinummoc gnitcapmi seussi eht htiw elpparg ot meht slepmoc stxetnoc eseht ni krow ot ytinutroppo eht .seussi lanoiger lacitirc dnatsrednu retteb ot redro ni ,ecalp eht fo seitixelpmoc elggurts fo snoitidnoc dna setis hcaorppa ot stnaw taht tra taht seveileb IPAWAH eht ot netsil dna hcaorppa ot troffe na gnikam htiw nigeb ot thguo tciflnoc ro ,seigetarts ,skrow poleved ot redro ni detceffe tsom stnemnorivne dna elpoep

9102 ,añucA amixáM IPAWAH níugloH leiruM :tiderc egamI

emaceb amixáM eman dlohesuoh a gnirud ureP ni dna sraey esoht dezingocer won si erehwyreve tsomla .seog ehs

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rtaceepnpnaooctostnsoeiittain murtorfotpnpeoresffeitd llA aW dlA roHw,eh o eht nifire ecnoutside etsixe shis ’enofamily’s fo noitarammed tneiroer earth lacidahouse rmac0“51sxa 0as d4e2dense bircsedbanks sah tecof neojofog Crpseem the kitchen aesrw c oIP mtofh octetopbx( ewhipped enbut a gnaikmeter niht sdornaso min ed front noitaof tneus. iroWhen er a hcu s)m ,twind thgim enthrough o sA 3”.dlrow .secnatirehni ndenpapsanhotitaihntggonceikrnniw uao hncoriatceesejorr,pskerhotwotenhot obscuredwall the htodrn locciN edi wthe en rfog, of ytwe icacould pac pumake gnineout po,91,the wroantSsurveillance kehoTt owtaonhorsowMoònpost k dnperched a swonkon esnyoathe w wtalahclosest sathusonbraettap fo noitingocer efohtsetaighetttacratsf ehhgtuotrn taanohrtoiw Metis no andsalifted hit gcnilibnuapelrseidoiw 02 ,)tneve evil morf llits( yev ruS 4 inraaelbig ded ulcni4x4 nevdriving e taht ,eback ’odr.enim noeih tathat rteotunqi d tttearpethe ehntani desserpxe tseb ,rocivlbau hp eb,snnaom eb yagw llidwndanyaalnpeseid b hillsidegnand white forth road itu ibhihfoxetrsaaphacu s esu olaid ,sna oc itasrand u mo 0R 8 ,snton nIap.the iecg itrraeaccess pm 8 e ot s alreP anyzrataK :tiderc egamI itam rofsn art cithe tamperimeter ard sih detof atthe ipicChaupe-Acuña erp dna yaw rehfamily’s tona ni em lboirbf esu hted voaebra ostnoitalletsnoc eht deti.rsenhoniitaeswre“vsnyoacs d eh foim gnminan b minersno had built along land. nansenhoW ita.tcxilebtuspih,tgn rgigoerp ,tsAbove igoloeus, ht nhanging oitarebilon lacthe idarwall ot lwas ufrew p dna etdepicting ile eht ot ythe lla emass vitd aveprotests rseasrn orwfard neeb evah snoitalloettsn e odcnm an het tsgungin ”sn roethsW ecna ruo a opainting tsoictrtaan kaidt ndiemsoerposirpehew 5 .089when 1 ni nothe itan issassa sih ot mining gneid aelcompany— yloln auktfnoesvm e etsys ,snoitidnoeckanm gd w amdunha gdnniaftl ish’sylriemdanfuañ seuicru do-epr m dnaac that had taken place on this land in 2010 multinational At-neepcuarohfCnewhatrn lacpossession idar fo ygeof tarhundreds ts a sa otnof eim añapmoof caland ,htaesurrounding d s’oremoR-kus—had ercanm iSdna ,noitingocer fo stc,anoeritaidgenihdtaneervden ikW nA ihH T r.sonf osikteneew tnoi w latcriteivlopkd which now had hectares s as’gIPnA ronwa ,htlathe eh lChaupe-Acuña abolg gnidulcnifamily sdlefi by rehforce. to ni pSeveral u nekatpeople neeb swere ah eckilled nednaeduring spiendoreittanriolpxe fo y rotsih ethaTht.ndoeitacp ejiocritpnfaoeswtc,aañeu racAgnaim kaixmá-M pa–m91d0n2aIPgA nW ikA am tried to evict H sthprotests gir dnal d na stngalvanized emevom ecaitnational suj tnargmovement im ,seidutsaround ecaep ,land ygoloand hcyswater p ensooihtrights aTre.sbeip l ahs gniees dna ydkestaelhetr teabgdnliukoow oltfcoejyorroptseihhtansi ittsIer.sehtntyi m y raoftesh iht those which s’ yfloim seidthe utSimpunity naciremAof.dmining lrow ehcorporations. t tuohguorht dDaniel’s na sacirmother, emA ehtMáxima, ssorcnaeesw ealtgegbuh rttsraE no ward ew tcaih idedr noat rsed irraodniu,oybtileib hits,isvi rtoafhdt e,seenpaahost and against lbtuspnoeihttcndintsim otand srohcampesina, patem owt dbecame ereffo ethe vah figurehead ztispiL egroofeG dnmovement, a nosnilmoT arabra,Bsm staking raelord hc,s feileb ,secneirepxeerhutoeybbodt edm roefensi n weaver the eventually em ytriulitbnisiievr,atc,earfuntIa.nthdgnilapsrniaem htufh o ytinum mocalla the gnitway nemto guPeru’s a dna hSupreme tiw gnitap icitrap“ :otneimañapmoca ebircsed .sarhaetfad her family’s case Court. nefto leinaD .meht deiraew d hn t agnsiyhetnyru reovj 6 eBy hT the ”.ctime isumwe etawere erc otsitting srehtowatching htiw gnitthe apifog citrawith p saDaniel ]dna[ dand aor his a nowife leecvnairst yfo esrhetlMaribel, rotsih sti morf noitd aceozlilrautn oeem taurratpsensi tgonnienbacreehwtowm ohsiehkfilohdceunM ialpmoc o gninhad ev rebeen tni toraging n ,tnesfor erpalmost gnieb tten uobyears. a yliram irp si oMáxima tneimañhaving apmocawon feohetthe cm itcoarfrpecaps fo sgnidaer ruooteolghnpaatnreosfigdntioknon oitephetcynbi therbattle Despite oal csneawic,iyttiilloapindonloacafiodenm hgniS-ieM leruacase L roand ssefobeen rP seawarded idutS cinthe htEGoldman .melborpEnvironmental s’esle enoemosePrize ewvl,oescin noat2016, tgsnidiylratitselec/laciteroehhgtuaom wooH o n,yoriotatszianrooloyctienvuitcraorptpxoe Supreme Court neorgfn,orel vyeln de.yhattrsaE ohfw .pihto sylive lla foinnaostate iton eof htuncertainty ot noitaler hand tiw chyper imanyvigilance d sih;h t tdreadue bEirncosto eddnsikan hamuh fo ytilartnecnewhotdfokn the family continues caobitcduarethsnnoechtladcnigaosloeghatymmi reih eht tyervuru tpsa:cnaoct skaerb tnethreats minapm occunrelenting a ,egelivirp fsurveillance. o noitingocerOver eht sthe essecourse rts pihof sylthe la;ehpast ltiyhm Wdecade, t“aht rednu detcere noitcartxe d lwoomnkechat continued and on t adentocietjabzuins o,elomciftonasemmeteshyts neIht.neigad tneu tnemhave timm oc a hgunear-constant orht ytilibaplupersecution c dna ecnecincluding onni fo sciphysical gol laryetcicassaults, rialcpieth fothe lutm atudona ;snoitalletsnocsweecrnoef tyin gaim mien the family suffered tifirunci egsnsin ’ein hit eytbap ecicniatrllaipevdrnuas etnmaotscnleowc taht sofectheir neireanimals, pxe dna sthe eigodestruction loedi tnerehofoctheir ni ,secrops itixelpand mocthe ehdemolishing t hntiawmgenrildtsneaof rw ftiohts taht esrevinu ehftodnnoaiteirduntoacn aotdn ytaifneahmt u,ehcfio poisoning erouitdanleerynlim lospglnaicdoaledrnfoa si ohouse. tneimaMáxima ñapmocbecame a taht yaas household ot ton si sihname T 7.”sninoiPeru taler during rewop n evenuyears mor,and ris eom ef seigm rpemoc dna noitaitogyetn tnneamyatm u their those imsiexcoarrpbm foekkcraol w sufooeyndaotlbuamsias d ilirbi Fisi.vmrrefipnyh gnitsixe gnialmost bircsni-everywhere er fo ksir ehshe t ot goes. bmucThat cus llhas its nmeant ac tI .sboth llaftipharassement ndwnoa sntoi ittupoehcand triewp fo stimil eht laever oytlb readdrnoan tylm foaD gn.ipriehysanl oaingn olopcmroe now recognized tsirseedignoulosahw ein apiym etaercinternational hcihw scimanawards yd desibut moralso pmoillness c nihtiw morf gn ikby rowthe ybstress seityirlaeof iadcrewan ohpturt ylno eht ,otanoroeM rpsnbeing fousceritcileib adoration; brought on h traohFw.sdnnoait,asleecrnrautosm seishstoypbedtientfi sunai hexhet oT .deinappublic moccafigure. era sreDaniel, hto elihwho w ynlives apmoon ccthe a otland elpowith ep em oswife rof sand noitdaughter, idnoc eht gnaaf hscihsd i noa unintentional his saw ytilibisiv fo daetsni devarc yl.iem 1 wop nto evefarm nu fothe sdn ik ehto t hprove tiw gnthat inokthe cer black a sdnasoil medisffertile, lesti ecithat tcarpfarming eht ,dnis e saiht justrewants land, .otneimañapmoca uD :mahruD( sixar P ,scitylanA ,stpecnoC :ytilainoloceD nO ,hslaW .E enirehtaC dna olongiM .D retlaW 1 stoor sah ygetarts a sa.2o,t)8n10e2im añapmocA yllway uf gof niglife, nirband fo ethat sneswater eht niis,ymore tilautu m gnikeesthan no sgold. tsisni dna krow taeskn oitaler noble important ,sserP ytisrevinU s0791 eht fo ygoloeht noitarebil naciremA nitaL ni ecan nedorganization nepedretni lathat cidaeach r dnayear ytivtakes ixefleralagroup citirc of rointerdisciplinary f ssengnilliw s’eno HAWAPI.is setacovda tnenimorp tsom sti fo eno dna s08 dna dna ycnednetopeadplace retni where ,seitixealpparticular moc htiw struggle gnilppar(political, g ot tnemtsocial, immocenvironmental, siht si tI practitioners .rodavlaS lE fo pohsibhcrA eht ,oremoR racsO saw snoall itaoverlapping) ler eht dna egis decentral lwonk sto endaily fiederlife. tnem inapmoccprimary a“ hcihwmission ni ytivixis eflto er lacitirc often HAWAPI’s 8 rof detacovda oremoR taht otneimañapmoca ehT ”.noitaartists tnemirto epdeepen xe gnicatheir rbmeengagement elihw y retsawith m gnwork isuferrelated ,ti etutto itssites noc tof ahconflict t rewop fo challenge ton seodinenorder o tahto t lldevelop a ot ssenmore nepo nuanced na sdnampublic ed ,otnconversations eimañapmocaaround ,sdrow rehto nI eht htiw gninrael dna gninetsil fo ecitcarp a saw or struggle sa himpacting cumsanI“ communities ,tuo detniop ebeyond vah resamajor lB oiraurban M dnacenters. anedaCProviding al ed losirartists aM sA .wonk eveihca ot redro ni dessessopsid dna desserppo issues .wonk yeht sd ow ehin t ethese kam ocontexts t dnet yehcompels t ,secitcathem rp gnto ikagrapple m-dlrowwith era sthe egdelwonk laicos wen a dna noitarebil lautum fo slaog eht the”opportunity tolrwork ehtof sethe taerplace, c otneiin maorder ñapmto ocbetter a ,egdeunderstand lwonk lla fo critical ytilaitraregional p eht no issues. gnitsisni yB pu ekat ot stseirp wollef sih deksa oremoR .redro complexities gnbelieves ikamnu that dna gart nikthat am ,wants gnirahto s rapproach of ,srehtosites htiwand gnikconditions niht ylurt rof of struggle snoitidnoc eht dnatsrednu retteb ot redro ni ecitcarp eht HAWAPI tneimañought apmoto ca begin elihw with taht ,making tuo gnitan nioeffort p htroto w approach osla si tI .and sdlrolisten w dnatosethe gdelwonk sdnah eht ta gnireffus sonisepmac eht fo ytilaer oroconflict people and environments most effected in order to develop works, strategies,

Máxima became a household name in Peru during those years and is now recognized almost everywhere she goes.

Susie Quillinan 73

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proposals conversations laand tnand em iconversations repxe ,lanoitfrom arfrom ud ,an evan iencounter taencounter lumuc ,laitrap proposals with that the sparticular soparticular rca gnihcplace. aplace. er“ nThis o This desisab ythe llaphase tphase nemaofdof nthe uthe f dna with that is project weowe tcall ycall cnthe edthe nencuentro, etencuentro, a gnitnoand rfand noafter c… nwwe owe dreturn nreturn aht rehtar project after 21 home, toto rof HAWAPI llaHAWAPI c s’leinacreates Dcreates ”.slaopportunities uopportunities dividni dezim oconnect taconnect sa etarepo home, theythe research lworks, noworks, ton d eresearch diug dnand aand dethinking krthinking am ,nethat htthat othappen nhappen eimañapmoca onon site wider through sysite awith w with ynaam i tupublic b public ,IPAW Athrough H fo nstrategies oistrategies tide htnof evof es eht a nwider display exhibitions, ,tcand ejoand rpdialogue edialogue ht fo tesuch nesuch t laas rtas n eexhibitions, c a ot noitnpublic epublic tta werd ti display programming, seunitnopublications c tpublications i dna ,tneseand rp nconversations. eeconversations. b syawla sah hcihw programming, and wen proposed eWhen w When hcihw i sproposed yaw ehttaking netaking daorten bten otartists sartists u egato ruto ocne ot we camp .eon cion tthe cathe rpChaupe-Acuña dChaupe-Acuña na sdohtem rfamily’s uofamily’s polevland edland dnand aand nomake tmake cefler camp work over two weeks forfor HAWAPI’s seventh work over two weeks HAWAPI’s seventhedition, edition, si o2019 tneim– añMáxima apmoca fo nAcuña, alsnartwe hsilanticipated gnE tcerid eht hgthat htlA 1 HAW API HAW API 2019 – MáximaoitAcuña, we anticipateduothat ni gninaem laiuqolloc sti sworran siht ,tneminapmocca thethe ecfamily’s nefamily’s tsixe-oc interest ,ytiinterest radilos fin o sin athe edthe i seproject ssproject apmocnwould e hwould cihw ,be hsbe inrelated aprelated S edrofor ni mvisibility, hsinapS ein ht eorder ot esto oohremind W .gnirathe hs dn a to to a oneed at rneed forretvisibility, insuorder toc eremind thepublic public sa ,mret eht erehw ruonoh dna snoitatonnoc eseht thgilhgih of of their plight.

InIn fact, be their plight. .mfact, orf visibility degvisibility reme ,ti tseemed uoseemed ba gniknto ihtto erabe ethe wthe :nodnthat oL(that ciahad soM nwearied i sewearied iromeM :them. orethem. moR raDaniel csDaniel O ,ligriV zoften epóL aíraM 2 very thing often very thing had .312 ,)0002 ,ddoT dna ,namgnoL ,notraD complained his complained ,sibrO :YNof ,lloof nkhis y rmother aMmother ( noitarebeing biLbeing fo yginstrumentalized oloinstrumentalized eh T kcalB A ,enoC semaJ 3 .3a0photo 1a,)photo 3102 byby thethe media and politicians looking forfor media and politicians looking sa seidutS naciremA“ .ztispiL egroeG dna nosnilmoT arabraB 4 opportunity opportunity a,56story, enough .11 ,03–1 :)3102or ( 1 or .a onstory, ylretrwho auwho Q nstayed acistayed remA ”.only tnonly eminlong aplong mocenough cA .1and 1 ,sthen eidthen utS nhead achead iremAback ,.back la tedown nodown snilmoT 5 capture their images to to capture their images and .9 ,seidutS naciremA ,.la te nosnilmoT 6 mountain. meantime, thethe the subjected :semountain. ihp argoeG lareIn craIn C hthe gumeantime, orh T tneminapm osubjected ccA« .hgniSto -ieto M leruaL 7 susurveillance onegidnI htiw by spiby hthe srethe ntmine’s raPmine’s hcraessecurity eRsecurity tsinoitiloforces bA constant forces constant surveillance /1111.01 :iod .9 :)1202( 1 .on ,35 edopitnA »,seitinummoC and local police, the family endured a .condition and local police, the family endured a condition 98521.itna ofof .7 ,seihpand argand oeGsimultaneous lasimultaneous recraC hguorh T tnlack emlack inaof pmof oproximity ccproximity A ,hgniS-ieM 8 hypervisibility hypervisibility eh T :eripmE evitingoC eht fo dnE eh T .sotnaS asuoS eD arutnevaoB 9 companionship. or or companionship. ekuD : mahruD( htuoDaniel S eDaniel ht fo sewas igowas lomunderstandably etsunderstandably ipE fo egA fo gnimoC .51 ,)8102 ,and sseand rP what ytiwhat srevin Uhe exhausted these circumstances, exhausted byby these circumstances, he lairotaruC ni ssapmoC ydob-gniwonK ehT “ ,kinloR yleuS 01 and family craved:)7instead of4 rvisibility was and hishis family .1craved 31 ,83–611instead 102( 1 .oof n ,7visibility etaeh T ”,sewas citcarP ni ”,tciflnoC a fo sm1 re1T dna erutaN ehT :amixáM“ ,dnalloH mixaM 11 acompañamiento. acompañamiento. ,)9102 ,argeN ateuqitE :amiL( añucA amixáM – 9102 IPAWAH Acompañamientof9bas af10strategy hasttroots a4-9strategy .rsAcompañamiento uselfi.4736bd3adc18-42a9-as -77a926dhas a//:sproots h .67 the .Latin fdp.dAmerican 89aAmerican bc83ccc414liberation 48liberation 03d42fd13atheology fdftheology 3d6_40ceof 4e/of dthe gu /m o1970s c in in Latin 1970s .9 ,seihpargoeG larecraC hguorh T tneminapmoccA ,hgniS-ieM 21 and 80s and one most prominent advocates and 80s and one of of itsits most prominent advocates was Oscar Romero, the Archbishop Salvador. was Oscar Romero, the Archbishop ofof ElEl Salvador.

The acompañamiento that Romero advocatedfor for The acompañamiento that Romero advocated was a practice listening and learning withthe the was a practice of of listening and learning with oppressed and dispossessed order achieve oppressed and dispossessed inin order toto achieve goals mutual liberation and a new social thethe goals of of mutual liberation and a new social order.

Romero asked fellow priests takeupup order.

Romero asked hishis fellow priests toto take practice order better understand the thethe practice in in order toto better understand the reality campesinos suffering the hands reality of of thethe campesinos suffering atat the hands

emaceb amixáM eman dlohesuoh a gnirud ureP ni dna sraey esoht dezingocer won si erehwyreve tsomla .seog ehs

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ofofanan the civil nunjust iunjust etdcinsintsocial siasocial idtnfuoogand m n iagrpolitical nepolitical omleavkeel easystem sesystem stoenvosbeduring aoduring dsrteit,elam itr0a0country’s pcountry’s 04siteag,d9e1l0w 2civil onnikywar. lalda tya“Accompany l“Accompany u hJt dseigsirnfgaon ceOr and the war.

2 them,” same ruoyroghe fnhe siersaid.

B csaid. a“p,s“Take ug“Take noittadriethe an s eegp u hatihwCrisks srisks lieninreathey cD n,oscedo.” d sdo.” tnIA.n2What noWhat aitivisuorpRomero eRomero Pdierhbtyh fodescribed adescribed nsodigraew r aoct rsas aas em gthe daejalw Coenhkt the them,” the same they effect is yof bof dpracticing epracticing lhdtidwuyhneaW pacompañamiento macompañamiento ”o.)cdpeeienkaspnm oiotciscoap( o ois rdpechoed aechoed ñroapsm nooiin ctin aiswhat eowhat bp ohtcblack d iblack hewenneiliberation w sretsnuuaocecb ntheologian etheologian ,eergedheslw tsoitnrka effect liberation James oCone f fo has shas knadescribed bdescribed esned saasas es“a u hradical htraereorientation demmar s’ yliof m f sih eexistence distuo erfiin rethe ehhcttoikhech aet JamesgCone “aoradical reorientation ofaone’s one’s existence inn.the 3 3 might reorientation world.” nahhAs gtu roeone rhone htat rd ’might ehptp iwih-expect, gwexpect, ndiwnoiw nksuch e‘such hftonyeaaahw W a s.sruefffo tontn orefdemands idemands m niaoñsap romrothinking ethinking cteam ,esanteusanew banew slilhatdneIrucsbo As reorientation world.” about knows up llacceone shaone iknows n eutS tpahew hahow tlilw oup tu sioscnei w tI ,9g’for tsedwhat seowhat thnko dleohRcryand eland p sknows oknows cnhow ieto vtton rknow, ueknow, smeehgtaopening tgopening unoe enkaan m dslcapacity .otu fo enew h bta-dgideas enftiw ilodnnka‘ about capacity for new ideas 4 In and sinterpretations eielh ptmtiah tathdtakorrto osto wsemerge. dIn hctabsdgthat nthat eeven iincluded hew ydgoiblearning -agndinwaoendkiselhlith“ exemerge. ceclapm ehotc4n onRomero’s haRomero’s terlotfbduns“a ecase, kcase, naim vireven dd4hxc4included tih”w learning andinterpretations totoread sread ti othe t the gnbible i.nbible lsin d’ yanother nlanother fuway gcnAiand d lthis beamrdramatic eidramatic bonlawtoli]usb’en [ gsnreiknaim dentasliin iamseacf raoñway -and enpuuoprecipitated arprecipitated hru Cseehhttfotrehis rnelpuvehytdgotransformation ntransformation do ah 01 from elite radical daeconservative ihsdsaem wally oeally llhatto ogto tnnthe etcim aelite clto ireehptxenoliberation sliberation ’gon reigmnoaR autseuvJob ”.stceffe srtconservative soettomrp ithe ip eñdagpand nm itoncpowerful iapowerful phtaiw sasweto lnaew h s,theologist, stheologist, A from and radical 5 eventually otoaleading ugcnidnnim ato tto eohiassassination tcaerhptanin sein ah1980. o tn tonneaknait edlabhibtaeht — ynlapirm crleading lraahis nhis tassassination anniitelcuim w 0e10i5m 2 anñi adpnm alosciaht,ynaowerceahlp eventually 1980.

Since w kRomero’s on sluaotrudeath, elacompañamiento lfwoosnekrawtceenheftoarsednas ergdan lstrategy nhoftoonooiof fi dn aih —osnuRomero’s gontid rb ussedgndaacompañamiento eas u stofslradical earadical sitsnoeptodpahehwtosnahhcdilhew Since death, aystrategy interdependence global d nwa been neitaken m oladretvaup s.in doifdynbfields afields iraoincluding saiñhu,csA ei-reop gglobal hhttytacwivtenoerted ffeidirat gnisreum d idtem llioksehas rehas ebeen ltpao ptaken eh St in eaceother rother ysliem ftincluding ueatahcCehealth, ehealth, interdependence up liberation dapsychology, owhdtenm odpeace sn lautourstudies, bastudies, demigrant lvw otatnon gmovements n aand o nripyefiscolahct sthgdin r arestpsychology, a denhat lpeace t,sneegm oo mnk laynlonjustice ijustice ad ezihincanvelratgnehc,and ihmwgland sland tdseottrights orights liberation migrant movements struggles the tthe eworld. rin pixm e dfAmerican ayteitnaurp en gStudies suiasgeaddonma a ,across am ixáM ,reAmericas hAmericas tom s’leiand nand aDthroughout .throughout snoita.rm operhothe csgsn onAmerican meiStudies eohtt dtsen struggles across the world. scholars two sytBarbara am orpeGeorge pGeorge at fso’Id PaALipsitz thave ecasciesbih ymetaphors Irevaew gnikat Barbara lslaiturtangenTomlinson viTomlinson ek,attnyeBm.ehvcoand h eW heArH ugofihave elahrttn eoffered m ,two atn,sismetaphors eapwmyancam dnn ato scholars and Lipsitz offered to describe tacompañamiento: nacompañamiento: emnorivne na ni k“participating r“participating ow meomt em euhSt gand n ao dtnyaasweneohztatallrcommunity ofem t faof tru o .treukoaC rwith p sand ’uik resaugmenting P acommunity saoccsr’iyelh im eh describe with augmenting ofof others obtirdaeMmeoftion swon uscaicahroad aroad tsai[and] tlr[and] yas lhlaparticipating cegposfe(eghnt iggnnwith lclatahw cothers egrnaitstn oeicreate trcreate iedwnoew cmusic.” emusic.” t isteem tThe ,ltravellers etravellers dsn eainoatDas tparticipating iw ieh ito sto ehm h66itThe ytBa erehw with practice aem foacompañamiento n egens ievuashsai m naixfáoM seis ttiiprimarily xpprimarily eslepDm.oscraeeabout habout sroem tnlaepresent, cronfagbnriugnot ointervening deubtd s aahnei lgttnaor ior htoof nrof wacompañamiento eiis ytnreot,being t)being annot ri n eiintervening bkreohwt practice present, iiasolve osomeone t ,ngelse’s rproblem. anpam sedm eEthnic m nd ara,gwnaiynProfessor zeProfessor zeibd den raa eevsLaurel iatcetprusroMei-Singh eMei-Singh neerrepffuid trying someone Ethnic ,6o1t0sto 2m nsolve eszsiercP lraptneehm onelse’s riizvynlaEproblem. loitG ehotsddeStudies Cp etm S trying to Studies Laurel sdescribed nootietauldereh tiawlidynamic egdynamic lip owith td sntsairelation tyrelation rtanieahttrencto on lthe lfaocnotion rof ei teallyship. sallyship. ibaaftseehdt cn v praerpgyh ed tantas ”ayn vaim l o“tfsoeeusnnitensoaceyzliilm hasdescribed this with tosuthe notion has this of tctesflaepr allyship erecognition ri.d encitcnaerlp iaccompaniment ehdtnnai stn ew ,edadc“While e“While d edallyship hntafloloeHsstresses rm u oixcaeM htrthe rothe etvcO ecInPaAlW lieA v rH uofs.sprivilege, gprivilege, errnaccompaniment u taeerrehhtndi erbreaks u niotp nofoc stresses recognition breaks of uylogics chAp agm áinnocence M IcPand ApHtnnaotistnao cicthrough lthrough iff yuassseevash ihynliim siahftenhot ehof tof ,the stthe lucarceral acarceral ssa la.caiñslogics n iidxinnocence u lcn–i 9n1o0i2tuand eAsW rculpability eculpability -bruap eneh dtearnaecommitment out commitment out ofof o C ehethe tdthe oeth ecomplexities, seorrcrireih thn n ertrsreudc eht and rexperiences uexperiences G fo gnaighnswith ilwith om tcdnnaatssip eincoherent t ifoegnaotistctideologies uideologies ,fand solaem itnaanreiehht tnfeovthat githat n“inosiop wrestling totowrestling complexities, incoherent 7h7 a dafrom essrsaeuneven egpower tnaierp rrelations”. dnnd a is M tsay ganciesacompañamiento ib rparm uisxtáoM n .seistui o,thceris jioeh rpt si dnfrom eruneven ypxeesoyhld tpower uedrelations”. uyrleim P anfi reem laoism hnot eixsáuto otohsay a hetm This not that acompañamiento is emerge This that emerge sits ileown asn nhpitfalls. i hlltaoebwtItnIt eavcan em ilestill ghgTu.rstesorgito eto tsthe neirrisk oerisk thnweof m are-inscribing oclaa droefzexisting uoont d na tndeeits m sraertapitfalls. ecan sbstill aIh.etsuccumb alsuccumb ehhthe yiof rere-inscribing vñeatpsm om idnegeoncearsw without own existing without siaedisparities w rtworking Gyb orneo datfrom ghfrom agruTowithin udynamics o rtectanoicreate t;ndoeiitratrd na na gndisparities b fsoihsTse.retdby sn eahworking rnwithin bi esm seintcompromised lrcompromised liuoosglantiruubdstdsreadynamics wqaerlasnihotitnawhich n od power by which create power eevfor osome csi,hslh apeople etpeople ,enm teaccompany ,heaccompany apossfeovigl noiwhile awh,sleeiothers hn taD hg.ueroare taccompanied. yclinlboutponla,ndoeitsnTo eTo ,reconditions thconditions gu,nao ditdansarfor fn iwsome im wd ato lito tcn hrwhile urh gfi eftinianm u the others are accompanied. the oithe drepractice ilh sreckoning gwith t o,dskinds laatl uebhof ,rm uuneven orb aneanwittusourj aend, send, i gnnthe m aspractice futcaohfth,ceitself itw re,fsdemands sedemands islsieocsokrcpa’alsb eihtrtataeht ehvwith ouroprhothe n tof afalod tn spower tpower this itself atreckoning the kinds uneven this ot em ework plehand kroinsists winsists aaheseeking iptmutuality, ceilleorcom dnsain trcethe ethe asense ,tnaohittadof rnaabringing pbringing e,erf,iel rfaocyfully fafully owsed .d’sltosgiton nron th tTn.ayttriovmutuality, m iin tff aw lboom n relations and seeking sense of relations atatdwork onwillingness nfor hcritical tsneektatat rwaaeand ryand dhncaradical ce ottanhetim y rafwillingness inlpoiictsciedsrreettn ii feocritical pt uoot rngoreflexivity aireflexivity aradical n oaiñtapzm inoacgarofonsatcsai Iw PoAhWeAtaHicerppa one’s interdependence. one’s for interdependence. ip lrrthis eivnocommitment fo,latn hgrappling tgrappling ewith ,latgnneIt m ecommitment iceom s n,lgaicliatto ieto lo p (eeglagrguuorctnswith ranlauccomplexities, ccomplexities, istirhatpwaoehredhnwainterdependency e,sceacln paatsom t surcernicoietsand iand trceavrid p Itp interdependency isnaisothis 11 ”y.reaw oi“accompaniment p icW naAlH ab.eerfiredefines ylredefines ryalsiasd ecoetnknowledge usercuspi )ogand tn riepdpthe rthe ivsoelvlaitcneejft bo ot si noisin siin m m“accompaniment rpfos’IgPnA lknowledge aretn aolrnerelations criticalreflexivity reflexivity which and relations critical which etpower cciitflcnaorthat pcthat afonconstitute olh ah t owhile tgnaegin membracing arñieah ptmnoecpaeexperimentation.” rexperimentation.” soconstitute etihsgoilt aden tit, ait, erefusing rsrefusing knrooownrhemastery tft iwa tn em ewhile eembracing eodf olltascts’ilterianeagDnell88ahc mastery ofofpower sdanhutoIracompañamiento, .aacompañamiento, sdsn oo hitteam A ropenness tenro ecmsapodln sd reothat dthat oone vnot sresvtindoncaciIlP bdemands uW pA deHcnoatan 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HAWAPI Acuña recognises merging of 9d1e 0Máxima 2ta,)e lirac tedn (o añ AHdexim ituacAl(detail), laam tsixnáiM2019 aIiPdAeWm caopcScthat re“n.nrall ehknowledge 0d)2m ,2enot (tsysseek 2m ailcPdistinct ts rAts muujrn du elbnisaivfnoI yansaipem A aI w ltivfoicesru’ ytcrettnih u cAechin t ogSniti–ru laciati–lmerging o0p2,d narolfatof odistinct HAWAPI Máxima Acuña (detail), 2019 iscorpartial, does Image níugloHolguín reknubrutluK ,8102 ,elohtiripS ,aroD Imagecredit: credit: Holguín generating spaces for ehetrasazadtowards reevm dna Muriel oMuriel bdleH jFledirauM tsr:tøidjeKrc negiaem tsIyØ ,knowledges seraoS Nebnierceswetdaebohybrid itaorRoposition. btaahllW oc 2a”.fIts ryaephtsasksiis oodtconcern r ewith mas generating eht ek.ayaTw“ro.Nspaces d ias ehfor ”,meht ,miehdnorT ,aroD

itaorcelbairltin kncewhich aclbehtT ahpositions siAotneimañakeep pmocompany ca gnicitwith carp fo tceffe noitisopmoc dnuos laitaps evitcaretknowledge ninnaaigsoiltoneehencounters nt onpom .w aranfindoeFoh aor icleapropositions m keep company with hat pnm i eoccnceatesicxaeps’edneonefo cidar a“ sa debircsed sah enoC semaJ dna noitallatsni mlfi lennahc-owt each a yb d eein kcnaolbitantindeeirto nerselarp other.

3 ihl tecsd am tonietairrouaedrway ,tcepxe thgim rather erather no sAthan ”.dlrow .tnenopmoc dnuos eht edistuo moor gnitIn iaww aennasense, i gdnetikan coacompañamiento nn am roefdrenpoliatanoffers aa hcofus‘knowing-with’ this ‘knowing-with’ than roef c9yaIt tpicsinsists acpiatcam pu enpi ost,lw w wonkSuely dna sRolnik w onk en o tacalled hw tuoba .devomer si sulumits lausiv lanr‘knowing-about.’ etxseaehdti ewreenhw engin cianengagement uosn erk soithwith Toh swhat Suely Rolnik has called on an has gitn-lianerraeslezdielidtulwhich cnoi tnaellvdemands aacres“subtle oRand nI 4complex .egreme work owork t snothat itateimplies rpretni dna eW .smetsys dnuos laruanib deredn er em n aetstnaihet v,eitscthe t’o nrieem hT “the knowing-body” complex that implies tfocietarvulnerable mtacrudrtssihehdteto tkiapticsurrounding rehtonand a nilistening elbib ehtto daits er ot tliub dna ecnerefer ruo sa murd cimaking namahnso[one’s] eitdaom mro)own 2fs,2n(aarbody u ntaethe eevraphdna yawforces forces and listening to its tsinRomero’s riesiwvo lla evitahim vhim resnto ocread morf krad yletelpmoc a edisni yllacineffects.” os dec,tnsei10giroJust elpoxeehas hocitiahrwebeirlulexperiences tacceid tiahrcroat elulbfwith np i ndana etile eht ot yallowed acompañamiento allowed to read acompañamiento ncian itanissasin sathe sihart ot gand nidcuratorial acuratorial el yllautneve ,nosrep eno ot detimil si ecneirepxthe e labible rua ehinT another .senohpd aeh acompañamiento sseleriw hgu5.o0r8h9t1eas way, in the art and apospractice gdeetahonly rttseadgenerate sicaeodtnheciam adñnaaknowledges p moca ,htaebut d s’oalso remto oRknow ecniSin dna smargaid depoleved evahfield eW .has tisivthe riepotential hltafcoidnaoritfaoto ryunot enew knowledges but also to know in ,way hotcladthe enhuloacategories, b nsidauhistories lecfiand ehsideas tpoanmi pthat u nedominate kat neeb sand ah esometimes cnednepedretni snoitom dna seitilauq morf edamandifferent oitisopm s olalgitagp tlcinpiesddh ihrw dominate and sometimes tseu nn aknowledges, rugoim ecaalso ep ,ythe golmethods omethods hcysp noand itarebil ,epacsdnal cinos eht gnipoleved focalcify ssescth orginto piredvnidogma, taaledrcnaehsentrenching t nfoem treavposm A e.not sctin vjetd s fo,seidutsbut but also the and only saehisdto u S em A eseht gnisU .secitcarp citsimina dn a cinam mto rnf ascdiorh teand m.dexpress elriolpwpaehotthem. stlauoeh vaghuoerwht dna saciremA eht ssorca selggurts modes used generate reolbhipsaivtways, em ow reercentral ffcoeveavh ahetow ztHAWAPI’s i,spdioLhetegm roeapproach.

G dna nosn ilm oT araartists braB sralohcs .noitallatsni eht nihtiw erutcetihcra cinoIn ot ssmany n i eh tthis dt edteais By taking approach.

By taking artists yfotin m meovcoamzones genhittn,em mogourasking acidtn ap“ :oin tnan eimenvironment añapmoca ebircsed lautir a ot deknil era stcejbo dnuout os lof la their stuncomfort em suaohthem ctaiwhcganto eitnamake Ipicitrwork and work in an environment hnTitimes ummooconditions ertahecraceortosfrd eehptochallenging ittasp(especially d a[ daoraccustomed a no srellevato rt fo ni erutcetihcra elbisivni eht rehwhere tegot egat v6a”e.cwis,the lhetviewdgenru eigcitrap sa ]to are tonartists artists accustomed to indeaevsstudio raebtneirtaoin tuntesseegrcenters), eian m ñapmseen oca ffrom ofrom ecitacaarp hcihw ,ygolomsoc citsimina cidworking roNro nogpnuin sner,urban lpaugtniireebsteu hoTbthe .a0y)lcomplexities 2i,r2a(mirp si otnof or of anaissue issue seen sseehfdizzying, tySltcniesometimes nuhqteEs.nm rp s’esle enthe oemprocess os evlosaims ot gn iy rt :rehtegot stnemele ruof eht ddifferent nhagsnnioSi-ticeperspective eM ridlelraunaiL drraocare totrcPesnenid ocuand ocelboparalyzing, to paralyzing, the process aims to soySlla– froetnaoW iand to,n ht o thnto er htiwto cigrapple m anyd swith iht drelations erelations bircsed sah .htroN – rdestabilize iA dna tsaEa–sense eriF .,pof hithu tscalls eW –on rthe aitEalartists “mastery” to grapple with kearearbhgtinherent n m cecnao,,epractices. itingodirector cer eht sMaxim eMaxim sserts pHolland ihsylla ereflected lihW“ yb deripsni niatruc tevleof v sdpower ueom rhitnsakplin awotheir 0ge)2li,v2i(rrpeftonHAWAPI enoT Holland reflected nweom upublication oernhict -yetriplib,aam pHAW leuncicdAPI n ni fo sciAcuña. gol larecrac eht fo tuo depoleved secitcarp y ranoisulon li dthis na ,tsin htsim cigmaomcincaithe thagm ylarae2019 ecnec–onMáxima his essay Máxima Acuña. abhdt esm ecrn irinature eopsxlea ddnnofaa sthe otltoeesdlai ctn tresistance ixelpmoc to eto htthe htiConga w gniltserw ot y ranigami s’htarnuhK hcirnieH yt“Given oefn segingicurrent istage retraeehhotincnntheir ii ,seiresistance the the Conga 7 myanot modcsaiW tahlatthat tfotorentaseihsand .”Asnfamily oitalerrepeatedly rewop nevexpressed enu morf egreme nA .egdoL kcalB eht fo stpecproject, nosci noatinhiteciis n Lñraopsurprising nyraestEoMáxima tiihhT pm her repeatedly expressed ttheir ortetbnm sbelieve nac tI we .sllaall ftiinternalised p nwo sti tuohtiw lacisyhp dna lanoitome gnto orus ts sgaenneed tiatrseixneefor gnyiacompañamiento lblairitcnsentio-epr 0fo)2k,s2i(rhein thiw uu occnues lliItbelieve struggle. we all internalised etaerto c hact cihon w sthis cimarequest nyd desduring imorpm oc time nihtiw orf gnikroGrande. w yb seitThis irapswas id rewop our inm Tragadero and tried Tragadero Grande.

This was oT .deinnot apmonly occathrough era srehthe to elsharing ihw ynaof pmspace, occa otime, t elpomeals, ep emoconversation, s rof snoitidnoc eht manifested, meals, conversation, rewoand p nelabour, venu fobut sdnalso ik ehthrough t htiw gnthe inoartists’ kcer a sprocesses, dnamed flewhich sti ecitfocused carp ehton ,dne siht routine processes, which focused on yllu gnignreparation, irb fo esnesaffect eht niand ,ytilcollectivity. autum gnikeThe es nartists’ o stsisnwork i dnahelped krow tame snoto italer modes off care, artists’ work helped me to .ecneofdnacompañamiento epedretni lacidacan r dndraw a ytivattention ixefler lacto ito tirthe c rointersection f ssengnilliwof s’eno appreciate how acts attention the intersection of dna yccircumstances, nednepedretni and ,seithow ixelpthis moccan htiw gnilppargthe ot talignment nemtimmo siht si tI encourage of diverse alignment ofc overlapping overlapping snoitalein r eorder ht dnatoegpursue delwonak necessary senfieder trebalancing neminapmoof ccapower.” “ hcihw1111ni ytivixefler lacitirc objectives power.”

8 ”.nDaniel’s oitatnemcall irepfor xe acompañamiento gnicarbme elihw ythat retsaafternoon m gnisufeshone rshone ,ti etuaatlight ilight tsnoon contaaahpractice tpractice rewop fo ton scome eod ento o understand taht lla ot ssas enncentral epo nato sdHAWAPI named ,oand tneim ñmethods. apmoca ,It sdhas row rehto nI its we have itsamethods.

It has sa hbeen cumsHAWAPI’s anI“ ,tuo dapproach etniop evato h rnot esalstake B oiraaMclaim dna aon ne“impacts” daC al ed lor o raM sA .wonk always “impacts” orsisuggest suggest .we won k yeoffer ht sdsomething lrow eht ekspecific am ot dnto yehplaces t ,secitwhere carp gnwe ikago m-to dlrwork. ow eraRather segdelwonk that”we can offer something that can specific toetthe the places where we go to work.

Rather eht seopportunities taerc otneimafor ñapan moadjacency, ca ,egdelwowhereby nk lla fo living, ytilaitrworking aworking p eht noand gnitsisni yB HAWAPI seeks seeks opportunities HAWAPI for an adjacency, whereby living, and gnikamnone u dnanother a gnikam ,gnirahs rao ,srehof tocollective htiw gnikn iht ylurt romaking. f snoitidnoc being alongside alongside one another constitutes knowledge being constitutes a fform form of collective knowledge making. otneimañapmocdeepens a elihw tathis ht ,position tuo gnitnby iopproposing htrow oslaa relationship srelationship i tI .sdlrow dto naknowledge segdelwonk Acompañamiento deepens Acompañamiento this position by proposing to knowledge making and and sharing, sharing, and and ultimately making ultimately to to rebalancing rebalancing power power relations, relations, which which is is

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partial, cumulative, retn uocne na mdurational, odurational, rf snoitasrexperimental eexperimental vnoc dna slasoporp partial, cumulative, and fundamentally based ehfundamentally t fo esahp eht sbased i sihTon .on ec“reaching a“reaching lp ralucitacross racross ap taht htiw and nru ter edown…confronting w refta dna ,ortneucanaetendency eht llac eto wtotcejorp rather than down…confronting tendency rather than tcenn ocatomized ot seitinuindividuals.” troppo setae12r12cDaniel’s IPAWAH ,em oh Daniel’s call for operate as atomized individuals.” call for operate as neppah tahthen, tthen, gnikmarked nmarked iht dnaand hcraguided eser ,sknot rowonly eht acompañamiento and guided not only acompañamiento fo seigeedition tedition arts hgof uofoHAWAPI, rHAWAPI, ht cilbup but rbut ediin w htiw ways eways tis no theseventh seventh inamany many the cilbattention up ,snoitito b ecentral sa hcutenet s eugof ooflathe id dproject, na yalpsid drew attention toih tenet the project, ititdrew aaxcentral noitalways asrevnbeen obeen c dnpresent, apresent, snoitacand iand lbuit pit,continues gcontinues nimmargorp which.shas has always which ot stsitrus a nto etbroaden gnikat dthe ethe sopways orp ein w nwhich ehW we toencourage encourage us to broaden ways inwhich we to ekam d naand dnadevelop ldevelop s’ ylimaour four añmethods umethods cA-epuaand hand C epractice. h t no pmac reflect on and practice. reflect on ,noitide htneves s’IPAWAH rof skeew owt revo krow translation acompañamiento 11 Although isis tAlthough aht dethe tthe apdirect idirect citnEnglish aEnglish ew ,atranslation ñucA amofof ixacompañamiento áM – 9102 IPA WAH accompaniment,this thisnarrows narrowsits itscolloquial colloquialmeaning meaninginin accompaniment, detaleSpanish, r eb dlwhich uwhich ow encompasses tencompasses cejorp ehideas tideas ni tofsofesolidarity, retni s’co-existence yco-existence limaf eht Spanish, solidarity, and use the term cilbupand ehsharing. tsharing. dnimWe eWe r choose ochoose t redtortoouse nithe ,ytSpanish iSpanish libisivterm rofinin dorder eorder en atotoot highlight highlightthese theseconnotations connotationsand andhonour honourwhere wherethe theterm, term,asas ehtwe ebare otthinking demeabout eabout s ytit, iit, liemerged bemerged isiv ,tfrom. cfrom. af nI .thgilp rieht fo we are thinking 22 María Oscar MaríanLópez López Oscar (London: efto Virgil, lVirgil, einaD .mRomero: eRomero: ht deMemories iMemories raew dinin aMosaic hMosaic taht(London: gniht y rev Darton, Darton,Longman, Longman,and andTodd, Todd,2000), 2000),213.

213. deziCone, lCone, atneAAm urtTheology sTheology ni gniofeofbLiberation rehtom sih fo dNY: eNY: niOrbis, aOrbis, lpmoc 33 James Black (Maryknoll, James Black Liberation (Maryknoll, 2013), 2013), 103. oto hp a103. rof gnikool snaicitilop dna aidem eht yb 44 Barbara BarbaraTomlinson Tomlinsonand andGeorge GeorgeLipsitz.

Lipsitz.“American “AmericanStudies Studiesasas hguonAccompaniment.” American eAccompaniment.” American gnol ylno deyats ohQuarterly 65, wQuarterly 65, ,y rots ano. rno. o1y1(2013): t(2013): inut1–30, r1–30, opp11.11. o 55 Tomlinson American Tomlinson al., American Studies, nwod ketcetaal., bd aeh neStudies, h t dn11. a11.segami rieht erutpac ot 66 Tomlinson American Studies, Tomlinsonetetal., Studies,9.9. o t detal., ceAmerican j«Accompaniment bus ,em itnaeThrough m eht nCarceral I .niatGeographies: nGeographies: uom eht 77 Laurel LaurelMei-Singh.

Mei-Singh.«Accompaniment ThroughCarceral secroAbolitionist f ytirucesResearch s’enimPartnerships eht yb ecwith n alIndigenous liIndigenous ev rus tnatsnoc Abolitionist Research Partnerships with no.1 1(2021): doi:10.1111/ fo noCommunities,» Antipode iCommunities,» Antipode tidnoc a derudne 53, y53, lino. m af (2021): eht ,9.e9.cdoi: ilop10.1111/ lacol dna anti.12589. anti.12589.

88 Mei-Singh, Carceral yMei-Singh, timixorAccompaniment pAccompaniment fo kcal suoThrough enatlu mis dGeographies, na ytilibi7.s7.iv repyh Through Carceral Geographies, 99 Boaventura Santos. The the Boaventura De Sousa Santos. The the.Cognitive Empire: yComing lbadDe naSousa tsreofd nu saw lEnd eEnd inofaofD pCognitive ihsnoEmpire: in apmThe oThe c ro ComingofofAge Age ofEpistemologies Epistemologiesofofthe theSouth South(Durham (Durham: :Duke Duke ehUniversity tahw dPress, nPress, a ,se2018), cnat15. smucric eseht yb detsuahxe University 2018), 15.

10 10 Suely SuelyRolnik, “The Compass Curatorial sRolnik, aw yt“The ilibiKnowing-body sKnowing-body iv fo daetsCompass n i devainrincCuratorial ylimaf sih dna Practices,” Theater 47, 131.

Practices,” Theater 47,no. no.1 1(2017): (2017):116–38, 116–38, 131.

1 .otnof eof im aConflict,” ñapmoincina 1111 Maxim aaConflict,” MaximHolland, Holland,“Máxima: “Máxima:The TheNature Natureand andTerms Terms 2019 HAW API 2019 Acuña Etiqueta Negra, 2019), stHAW oorAPI sah yg–e–Máxima tMáxima arts aAcuña sa o(Lima: t(Lima: neimEtiqueta añapmNegra, ocA 2019), 76. https://ad629a77-01f9-4b9f-9a24-81cda3db6374.filesusr.

76. https://ad629a77-01f9-4b9f-9a24-81cda3db6374.filesusr. s079com/ugd/e4ec04_6d3fdfa31df24d3084414ccc38cba98d.pdf.

1com/ugd/e4ec04_6d3fdfa31df24d3084414ccc38cba98d.pdf. eht fo ygoloeht noitarebil naciremA nitaL ni 12 Accompaniment Carceral 12 Mei-Singh, Mei-Singh, Accompaniment Carceral Geographies, setacovd a tnenimorThrough pThrough tsom sti foGeographies, eno dna9.s9.08 dna .rodavlaS lE fo pohsibhcrA eht ,oremoR racsO saw rof detacovda oremoR taht otneimañapmoca ehT eht htiw gninrael dna gninetsil fo ecitcarp a saw eveihca ot redro ni dessessopsid dna desserppo laicos wen a dna noitarebil lautum fo slaog eht pu ekat ot stseirp wollef sih deksa oremoR .redro eht dnatsrednu retteb ot redro ni ecitcarp eht sdnah eht ta gnireffus sonisepmac eht fo ytilaer

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Invisibledrum Art Platform (aka Amalia Fonfara, 9745 and Nazaré Soares)

91f0e2rinstallation ,e)lh iatte,dI( e añhutcAfo am WA apersoi pergodce“lwroooffnlk ailtln ettaohpt Space esh escaiermixed ero siexiátMilIaPuAq foH Invisibledrum tcnitArt sidPlatform fo )gmnotitgo2,2 rbedm 0na–apok Te ( es ton(2,2) seod0” yt–itiSonic ,laeitrrlaArchitecture the aInner estiontgiso rgnivigmedia created iderc egamI Dora,–Spirithole, ftalP Kulturbunker rA murdelbisivnI vetsirK aKjørstad iluJ nyíbugdloFjeldbo eHnlielitruuM o :ytand lsuomaf r0o2f,2sm ecroa2018, pshtgtfn itareneg htiw si nreascnpart oc sof tI .ano collaborative itisop dirbyhbetween a sdrawoNazare t segdeSoares, lwonk:aØystein Dora, ,7102 Trondheim, ,ecapS rennI eNorway. o erutcetihcrA cinoS peoerfkestonNoitisopAmalia orp ro sFonfara. noitisop hThe cihw central ni sretcomponent nuocne egdis elw anoninteractive k spatial sound composition gnicneirhetpixw e ryen ftaap rom tisoivc m ecneicS&trA ,noitallatsni dnuos eht .I ot din esoblackened ppo gniebspace fo tahaccompanied t—tcejb.roeh eh fby ocayeatitwo-channel lauq eno ylnofilm sahinstallation tcejba ehT and presented tot h .eropagniS ,sdnaS yaB aniraM ,muesuM

tperformance htaiñ waepm latt,es n,n istiiahsotwaiting pnpI o sti room hguoroutside ht ,revew ohsound ,tcejbocomponent. eht fI naht rehtar ’htiw-gniwonk‘ fo yaawdurational aeslirgeaffrof eohtn eniim moseclocated esoin the

dellac sah kinloR yle)euldSditMa(hw htiThis w tneresults megeamgnin sekanaacinematic mno ,tcsatsf ifsonrispace ettIt9a’.m hexternal m rofstimulus erised a fis o eremoved. rutxet twhere uaobsa-,ghthe nciiw own,kg‘ninaevisual – 0 2,2 mroftalP trA murdelbisivnI s e i l p m i t a h t k r o w x e l p m o c d n a e l t b u s “ e h t s d n a m e d h c i h w ” nokgeohrendered , y r a r t n o c e h t n o , t c e j b a s i tyadhowb-,gtreal-time inoiw t osu lot“moh ylebinaural tinfini dnsound a ylssesystems. lesaec We The interactive installation utilizes ,8102 ,ecapS rennI eht fo erutcetihcrA cinoS ecorrfoeftogNnidnuohave rruesctaken eah rweontluevmyd ob wdon]asmode ’deendou[ lshamanic gcn lpt eoht the teldbraastructure sof w aarnd(2,2) xeikyalm laciddrum ar si ,as tceour jbo reference denosittejand eht built ehsttgino ictnegin reipn xeetresftila d ron tia sivsm ,aroD reknubrutluK ,noitallatsni dnuos daer ot mih dewolla otneimañapman ocainvisible htiw secarchitecture neirepxe s’orwhich emoR is saexperienced tsuJ 01”.stceffsonically e 6.sespinside alloc gancompletely inaem erehdark w .yaw roN ,miehdnorT

lairotaruc dna tra eht ni ecitcarpspace a sa othrough tneimañwireless apmoca headphones. ,yaw rehtona The ni elb ib ehexperience t aural is limited to one person, eciveD evand itatideM ni wonk ot osla tub segdelwonkand weneach etaredecides neg ylnthe o toduration n ot laitneoftotheir p ehtvisit. sah dWe lefihave developed sdiagrams gnias sfo eroutqsiithir,cas-espatial aitreom pcoelh evt eyd ottnskereeeffsidkraomade w sihtfrom sniprqualities ednu tahand t hcmotions raeser ehT semitemos dna etanimod taht smaps aedith dwhich eidepict geatasound aw composition eohntkyyblnevents. doertiopnsngAs insih i part ca,apm screative ygroadno igtanprocess m aedeveloping r ,lautriv ot the noitsonic aler nlandscape, i noitpecrep dna sdohtem eht osla tub ,segdeof lwsound ctanhetrof tsneethe i yi fdicnlaclof gnhave ita.m cinealso u itfrom na m sinamahpractices. s fo ygolonUsing hcet tthese neicna hm t sm sapplied eorcpxreofddmethods neaseutsaerecn ecgaropt cshamanic dietsiumsiendaodm we and animistic ,etvlihave aidyn em mI orF architecture .smlaer etamwithin ina dnthe a etainstallation. minani nihtiw stsitra gnikat yB .hcaorppa smethods, ’IPAWAH we o atcrtenpescreated crespi syighotlthe ,oscyeainvisible w ama n sonic seikigsoalroom, o tnw ntrootfm elo bcarrein lutvall auonoitoobjects me dnaare tcelinked ffa tahttoezainritual gocer ew tnemnorivne na ni krow ekam t mehacoustic t g.n dnh acseethe oezmovements eh foertsound Inoeach of acieach acmerhotfsnweaving ciittptaahetogether drenhawylidothe b tainvisible ht eveilearchitecture b ew ,yltneuqin esnoC ot demotsucca stsitra ot yllaicepsgesture e( gnignsdeveloped eelm lahitcem ero assfor no tindonitoroom, eim ottnaecsan m osubased ntsesaontaupon 0 )2,2( .mecosmology, tsys citsiugwhich nil espilce a morf nees eussi na fo seitixelpm(2,2) oc e0. htThese roro,f)slroeritual abertusynsi yare orid im gnoiskraNordic oswreffo animistic gestures t,gon piysezczaidrthe bem eetvaihtctem ystn laecriesff yand h sa sfour noitcelements nuf dna ntogether: oitacinummoc ot smia ssecorp eht ,gnizylarap seconsequently miten mi ossladitnnaeconnect racardinal psedirections rtesp idp athe ys“fo eeozcilieband hattsgen tsrednu suht snoisnemid lautriv snoitaler htiw elpparg ot stsitra eEarth ht noe–slplWest, liatcludm nWater asa” ysrm ete– stasSouth, m foeecFire snneets–iaxEast didn–aNorth.

Air 7 .ecnanby oser fo slevel detcefler dnalloH mixaM rotcerid IPAW H .sec(2,2) itcar0, p rone iehtwalks ni tnethrough rehni rew p fovelvet curtain inspired ToAenter a ored iW m siH nanmoaitpre-cinematic hascidlbnuapygeohltonnihmagic eih wtneibsn lerroc a stnpractices eserp hcradeveloped eser ruO .añucA amixáM – 910early 2 In PA A ycaestsneesshows, iand hotitnaoillusionary cinema, .nelitheatrical beagraatpsetsnneirsettings eru rac yeghotlfand oonehrcalso dna msinKhunrath’s amahs fo ygimaginary olonhcet eht hcihw agnoC eht ot ecnatsiser riehtin uettafnoinformed em htsinneavm iGaby “hs Heinrich a dna eagmdiexláw oEternal ntkahetcu dWisdom gtolLynchian dnthe u hBlack tob siLodge. msinaAn mahs ,ereH desserpxe yldetaeper ylimaf rAmphitheater esh gn iosrip rportusyor non sihtcie,t caesjconcepts oard pootsreof ofM dieo sat(2,2) be-eim c0itapotentially cñaarppm ruoO gfodloen hcaeststrong eog srewopand eviphysical tiutni fo tiusrup a desilanretni lla ew eveileb I .elgencounter guhrtcsrarieeshetrwith n n ca8.ryogenerates en ugnoitsu semotional lefi crgandirnuadctid saw sihT .ednarG oredagarT ni d em it criuto sero uN qenr osp ihut dneoretctn a eoct sdiem irst idnnam a ahs dna msimina htiw tnemegagne I(tqhogkukoarghntAyldnnoato)in m,adSe(td ,)cidroN( rdieS sa hcus msinamahs fo ,noitasrevnoc ,slaem ,emit ,ecahpgsufoohgtlnAir.a)thisuneh seiafionNam no desucof hcihw ,sessecorp ’shtsciateraneihtiw hgsueourqhitnohscleattdunba,rwueoibvadllrdonwa se’niotiutoidrart eht ot stcepsa tnereffid era ereht ot em depleh krow ’stsitra ehT .y.stitviritip ceSllfoocydtinlaetrcgen ffiavi,lnloaietraraafpoergn,eirdancaftosrseeddnoumderahs a ssapmocne lla yeht ,erutluc hacñ etaplam tiogciad ffoo sttachat w donha emtasicnearm fo noitcesretni eht ot noitnetta ward nacygootnloen im ppaahs fo ygolonhcet eht taht tseggus eW moihehdtnhag,u hat ttsim ripuscfroicdelsrroewvildacigam siht nekawaer dna egrem nac gnippalrevo fo tnemngila eht egaruocnennoaitcasniihgtaw seocrn 11 wo,sdnim namuh y raropmetnoc ruo fo ”.rewop fo gnicnalabeerbyyraam ssd ecneaneaspem usirlgupotoetm reodcronanci esewvietrceehjb ecitcarp a no thgil a enohs noonrefta taht otneimañapmoca rof llac .sd’leroin aDtiripS eht fo weiv citsimina na egdelwonkca W sah tI .sdohtem sti dna IPAWsAyH tnuercdscaindanm atashresdfn enorut olaj rm ouseoutqeim nhocceet vdaehilepw pa ew ,krow eht gnikam elihW tseggus ro ”stcapmi“ no mialc aelebkisaitvsntioenhot thhticwaosrspepnades’tIcPeA nW noAcH retnneiedbnsayaew calaps citamenic renni nwo ruo ssecca ot rehtaR .krow ot og ew erehw secalpseshathopt hcfi icoerphst gsn s orlelff gu piehttsegm noiw oo f ,nelaccaerowetvaihtat erc a sa dev res noisses y revE .dlrow dna gnikrow ,gnivil yberehw ,ycn ecTa.j0 da)2n,2a(rnoifhsteiw itisntuntervoeplpaorusakedeesriIpPsAnW eh i hAcH ihw gnikam tnetnoc fo sessecorp dna .gnikam egdelwonk evitcelloc fo n moriotaf lasnseatru snoorcf drehtateorncasegnnoiderdoicsegrnooildaugtnsid ebna dlefi krow morf era secruos dnuos t taitm egdelwonk ot pihsnoitaler a gnisoporpeW yb .nso niotitsaocposl ilhatcisrnoetspieheedhottniesim yeanñraupom j eovciA tcelloc ruo ni deviecer noitamrofni fo si hcihw ,snoitaler rewop gnicnalabden ru oo t fysleetiagm am etiatrltus dnngais,gmnairearh dshdgnuaorghntiksm etsys evitaicossa nihtiw skael detacol

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Invisibledrum: Amalia Fonfara, Øystein Kjørstad Fjeldbo and Nazaré Soares (2,2) 0 – DORA (Installation view – performer instructing visitor into), 2018, Kulturbunker Dora, Trondheim, Norway.

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endaoestlaatsenses and thereby tdcnuartssengiagm n how vwe oarfpoperceive ynbo0ne)2m ,2owhat (ngenhip tKaren ixeehd selgaantosichallenge irdeift tn yba 2 Barad noitihas snarreferred t ftos a sto a las lew‘spacetimemattering.’ sa dnaherofe.abisneohitsaem nryosfn foi Visitors have serudescribed taef osla aehow ra gninvoluntary itiaw ehT .gmemories nitixe refta a ni egaugnaL dna noitpecreP :suousneS eht fo llepS eh T ,marbA divaD 1 and hprevious cae erehwexperiences gol a dna spare amrecalled, ,srepap land anoihow tamrofni ,CNI ,esuoH modnaR :kroY weN( dlroW namuH-nah T-eroM by entering ni secnthe eirework, pxe rierecollections ht sserpxe otof d5ethe otisiv 1t–i0v1n .past )6i 9s9i1 rare yhp mutnauq :yawflah esrevinu eht gniteeM ,daraB neraK 2 evoked conscious eerhat dsnka without rscoisw egam i gnivom process. rehtO .gniward ro gnitirw ytisrevinU ekuD :mahruD( gninaem dna rettam fo tnemelgnatne Given its technological .aera gnitrealization, iaw.43e2h.)t70n0i2 d,sthe esecraPlwork p osla ctinuob S ethctas ,traAh:tcneevm E csim httyohn Ry ethe hdTo,u od alsosaserves ednjbaan o,aildinvestigation aeM cin ainto bontology eahinTo“kI inelE 3 .)4102 ,sserP TIM :AM ,egdirbmaC( 1 oflavirtual t,nkeežilŽajcaivgolaSm4 citcelaiD fspaces, o noitadnuoand F weNby a sdextension, rawoT :liocer ethow u”lo.y sbtAithese 1through 0a2 ,n osird eVn:u knew rooY N osLe(sm si0 lai)r2 et,a2M( dnperceived a cit.0s5i1m.)4in f ewgemedia au&gnnoadlnand usensing are ni lautriV eht gnirevocsideR :erutuF s’tceffA ,grebssorG ecnerwaL 5 odEc(ehdtroowtgw eS i.vJ .Ga &htgigw itncIa.rlapubody, efoce technology. tcegffn AiezhiTn,o ).lsPotential ierelations erbetween Gec .M ttcsAin ehim t space 903 .)d 01n 02a.s,ssem rPare esviynwithin D dd aesuch eyttissyrset rUoesknuD es:m(2,2) caihtarum nr yaroeevhtaitiway ngoc and technology 0,(orsein :kroY weN( noitcejba no yasse na :rorroH fo srewoP ,avetsirK ailuJ 6 muthe ucavirtual v dn.2a–1yand i,sssivernreal sevninoUitaoibnmwithin susloeCrddthe a ot such that .t)i2l8i9b1the Piyftiosrmerged notitn asenn eSo,p tcm eof ffAothe eT voM :lspace. aeum triV f se elway blaaru aPtin uesshatMnniathe c,tnsem ihdark .tn neohrtThe irvon r,iimvwhich hirtBiw7 interaction .)2002 ,sserP ytisrevinU ekuD :mahruD( ooH eudaffects qnagmnsiiw lalohsfsenses se“ t,fare y.lMlaeintn eatFop8 sonic the explicitly ”,sew igarchitecture lotn:s Ondo etistasW nao m oe nh hcteT sievgn roiB aib lby avtrn athe Cem odbody. ln an n tuoh,otihw oyreiRvndThese easstniitoraseemingly tMseaitBaylberdeywdeexternal oivbretenhi t seod perceived .omsinamaxoncet//:sptth ,7102 ,41 enuJ ,)golb( MSNMXNCT ro laof soynh reocf.esrsintensity nrroewtxe to eht forces and -detsaadd w -dfne alayers -cmasp insam achismotion, hcpeta /41f/o6speed 0s/e 71c0n 2/em elra pd eigthe loo tnievents otagivan gnidifferent calpsid dsound na gnitobjects neirosidthat thgibecome m wo/sH ?on the gnimaerD dicuL no sevitcepsreP .niarB gnipeelS ,dniM suoicsnoC 9 sisak,h pmthe e ecvirtual alp ecnwithin eirepxethe lanimaginary retxe s’revworld resbo eht triggering roY weN( kcabnekcaG enyaJ dna egreBaL nehpetS .de 1 ,sosedthe rPta mh uwork nelP?:y napproaches odonb oLedhnta nihtiw eht 3saSignificantly, enfie.d)88e9w W d of the visitor. the virtual tahWand ?erits utlrelation uc aidemtoythe raropotential pmetnoc from ni lauatriv Bergsonian krow desuunderstanding segaugnal dna of seuimmanence. qinhcet ,seigolonhcet (2,2) aims to?create ew thg0im woH lautrivaespace ht ecuin dowhich rp ot rthe ehtegot subject dnaisyobject golonhand cet nwhere, eewtebthrough noitalerself-negation roc a hcaorppa of nothing, ?yteicossomething latigid dnawill y raemerge:“of ropmetnocthe a nisubject msimina itself, as ethe itssrown lbisoutcome sop elpitlof um effo impossibility.” erutan 0 )2,2( 4 The.econceptual calp emas eapproach ht ni gnitunderpinning sixe-oc seitilaethe r dnwork a semit is rooted views evitin iutemancipatory ni rieht esu tsu m srooftisthe iv ,ynon-place ltneuqesnas oC a space and namuwhere h tsomone hgucan ohtescape lA .noitfrom atneilabor roer ro f stcthe nitsni capitalgproduction nicalp yb ,seof carealities, ps edoc oand t thgwhere is no yideologies ler sgnieb cannot wenexploit a ,tnemor no“win rivnehearts krad yand letelminds.” pmoc a 5ni srotisiv Consequently, evitingocmeaning egnellahcollapses c ot skeesby yhopposition crareih lausnes

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of qualities detaerc of nothe itallI,attherefore sni aidemgiving deximrise a sitoecthe apS potential rennI eht ffor o er“corporeal utcetihcrA creality” inoS – 0 )2,2( famously Kristeva: dna ooutlined bdlejF dby atsJulia røjK n ietsyØ ,seraoS erazaN neewteb evitaroballoc a fo trap sa noitisopmoc dnuos laitaps evitcaretni na si tnenopmoc lartnec ehT .arafnoF ailamA dna nThe oitaabject llatsnihas mlfionly lennone ahcquality -owt a yof b dthe einobject—that apmocca ecaof psbeing denekopposed calb ni dto etnI.eserp through within .tnenoIfpthe mocobject, dnuoshowever, eht edistu o moor its gniopposition, tiaw a ni detsettles acol ecme nam rofrepthe lanfragile oitarud a .detexture vomer sofi saudesire lumitsfor laumeaning, siv lanretxwhich, e eht eas rehawmatter ecaps cofitfact, amenmakes ic a ni me stluser sihT ceaselessly eW .sm etsys dnuoand s larinfinitely uanib derhomologous edner emit-lto aerit,sewhat zilituisnabject, oitallatson ni the evitcontrary, caretni ehT isuradically tliub the dnajettisoned ecnerefer object, ruo sa m rd cinamexcluded ahs edomand )2,2draws ( a fo eme rutctoward urts ehthe t neplace kat evah krawhere d yletemeaning lpmoc a ecollapses. disni ylla6cinos decneirepxe si hcihw erutcetihcra elbisivni na ,nosrep eno ot detimil si ecneirepxe larua ehT .senohpdaeh sseleriw hguorht ecaps Meditative Devices dna sm argaid depoleved evah eW .tisiv rieht fo noitarud eht sediced hcae dna The toodevelop snresearch oitom dnthat a seiunderpins tilauq morfthis edawork m noiseeks tisopm c dnuos alameta-critique itaps a tciped of hcsight ihw spam perception ,epacsdnain l crelation inos eht to gnvirtual, ipolevedreal fo sand secoimaginary rp evitaercspaces eht fo that trap is sAinspired .stneve by dnthe uos fo ancient practices eseht gtechnology nisU .secitcof arshamanism p citsimina dand na canimistic inamahs m orf sdohused tem dfor eilcommunicating ppa osla evah ew within .noitinanimate allatsni ehand t nihanimate tiw erutcrealms. etihcra From cinos aelmedia bisivniecology eht detaperspective, erc evah ew ,sdohtem we recognize affect new lautir a otthat dekn il eraand stceemotion jbo dnuoare s llavulnerable fo stnemeto vom ehtechnologies. t ,moor citsuoca hcae nI Consequently, bodily information ni erutcetiwe hcrbelieve a elbisivthat ni eh t rehteand got haptic gnivaew ,moor hcaecan rofsometimes depoleved erutseg eclipse linguistic system. somatosensory hcih w ,ygolom soc cits(2,2) imin0a offers cidroNa n opu desab era ssystem erutsegaslaautool tir esfor ehT .0 )2,2( communication functions :rehtegot sand tnem ele ruof eas htadphysical na snoitcsystem erid lanthat idraembraces c eht tcennpotentials oc yltneuqinesnoc virtual dimensions thus understanding .htroN – riA dthe na tcoexistence saE – eriF ,hof tusystems oS – retaas W multiple ,tseW – htraE levels of resonance. yb derips7 ni niatruc tevlev der a hguorht sklaw eno ,0 )2,2( retne oT correlation dOur epolresearch eved secipresents tcarp y raano isulli dna ,between swohs cigtechnology am citamenand ic-eshamanism rp ,amenic yin lrae which theytechnology ranigami s’hoftashamanism rnuhK hcirnand ieH shamanism yb demrofniofostechnology la dna sgnitare tesinseparable. lacirtaeht ni Here, shamanism understood aatechnology asA nA .egdoLiskcboth alB eh t fo stpecnoas cn ihcnyL ro mtoodproduce siW lanreknowledge tE fo retaehand tihpm a pursuit of lacintuitive isyhp dnpowers a lanoitogoes me gusing nortstechnology. setareneg y8llOur aitnepractice-based top 0 )2,2( htiwresearch retnuocne engagement with animism and shamanism is centered upon Nordic and arctic field of shamanism such as Seidr (Nordic), Noaid (Sami) and Angakkoq (Inuit). Although there are different aspects to the tradition’s worldview and techniques within each culture, they all encompass a shared understanding of a real living reality of Spirits.

We suggest that the technology of shamanism and that of digital technology can merge and reawaken this magical world of spirit through the imagination of our contemporary human minds, where we can come to glimpse and maybe acknowledge an animistic view of the Spirit World.

While making the work, we applied techniques of shamanic drum journeys to access our own inner cinematic space and interconnectedness with the invisible world. Every session served as a creative oracle, following steps through phases and processes of content making which inspired aural events within (2,2) 0. The sound sources are from work field and studio recordings created from a translation of information received in our collective journeys in the historical locations. We located leaks within associative systems through dream sign strategies found

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(Top –and 0 2,bottom) 2 mroftalP trA murdelbisivnI Invisibledrum reknubrutArt luK Platform ,8102 ,eloh2,2 tirip0S–,aroD Sonic Architecture .yawofrothe N ,Inner miehdSpace, norT 2017, ,aroD Note from visitor after experiencing the sound installation, Art&Science Museum, Marina Bay Sands, Singapore.

(Middle) Invisibledrum Art Platform 2,2 0 – Sonic Architecture of the Inner Space, 2018, Note from visitor after experiencing the sound installation, Kulturbunker Dora, Trondheim, Norway.

nietsyØ ,arafn ) 2o,F2 a( ifloam paA M:m muurrddeellbbiissiivvnnII seraoS ércaiznaoN s edln biasiovbndi leehjF t gdnaitwsorh øsjK0 remrofrep – w laeitivapnsocitiahlplaatrsgnhI(tiAwReOrD ut–ce0ti)h2c,2ra( reknubrutluK n ,8o1i0ti2so,)pom tnoi croatifsoivno gn itiatzciulartussnivi no.yitaowmrodNna,m seieithildanuoqrT cin ,aorsoD fo 56

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eseht detalsnart ew dna seiduts maerd dicul nihtiw dna noteleks a htob si hcihw ,margaid lanfi siht otni 9 .krowtra eht fo evitarran desab dohtem ro ledom a sa snoitcnuf 0 )2,2( a dna margaid a sa dessapmocne metsys laitaps a no tnereffid ni deilppa eb nac metsys siht ,hcus sA .pam na swohs 0 )2,2( fo pam ehT .stxetnoc lacihpargoeg edom-2,2 a morf detaerc erutcetihcra cinos elbisivni dnuos a stciped margaid sihT .murd cinamahs fo snoitom dna seitilauq morf edam noitisopmoc citamenic eht ni stcejbo dnuos dna stneve dnuos deilppa segaugnal wen spoleved hcraeser ehT .ecaps fo stpecnoc gnipoleved stnemnorivne citamenic ni dna laitaps-oeg fo snoitcnuf eht dna amenic roiretni .stnemnorivne hcus nihtiw seigetarts citsuocaohcysp ot egrem msimina-oen dna ygolonhcet krow eht nI secived lacigolonhcet fo sweiv y rotapicname evig lacitirc dna ngised evitaluceps ,gnikam tra hguorht taht ecaps a detaerc evah eW .secitcarp gnireenigne ygolonhcet latigid woh no stcefler dna secarbme ecitcarp citsilautir cinamahs nihtiw seuqinhcet dna a nihtiw secaps lautir fo elor eht etavitcaer nac .yteicos y raropmetnoc fo erutcetihcrA cinoS 0 )2,2( fo noisrev tsrfi ehT depoleved ledom a sa desoporp saw ecapS rennI eht lacigolonhcet evitaluceps fo noitpecnoc eht morf ni muesumtrA miehdnorT ta detibihxe secived dna trA rof edam saw noisrev dnoces A .7102 yaM gnitpada 7102 enuJ ni eropagniS fo muesuM ecneicS cinos htob erehw ,ecaps eht fo snoisnemid wen ot .yenruoj evitaerc eht fo tluser eht erew sepacsdnal citeop a si ,AROD 0 )2,2( ,noisrev lanfi dna dr3 ehT lacigoloeg fo esaeler eht gniwolla rof erutseg cinos eht ;etis cfiiceps a fo amuart lacirotsih dna eht nihtiw 8102 enuJ ni detaerc saw erutcetihcra namreG II raW dlroW eht fo txetnoc lacirotsih eht saw esab ehT .miehdnorT ni aroD esab staoB-U dna ,emit taht ta eporuE htroN ni esab lavan tsegral deruces saw miehdnorT ni noitacol cigetarts eht htuom eht ni snoitacol rehto eerht yb dedraug ,llew

murdelbisivnI mroftalP trA ,arafnoF ailamA aka( )s57eraoS érazaN dn85a

emiT fo sdnalsI

within lucid dream studies and we translated these into this final diagram, which is both a skeleton and narrative of the artwork.9 (2,2) 0 functions as a model or method based on a spatial system encompassed as a diagram and a map. As such, this system can be applied in different geographical contexts. The map of (2,2) 0 shows an invisible sonic architecture created from a 2,2-mode shamanic drum. This diagram depicts a sound composition made from qualities and motions of sound events and sound objects in the cinematic space. The research develops new languages applied in cinematic environments developing concepts of interior cinema and the functions of geo-spatial and psychoacoustic strategies within such environments.

In the work technology and neo-animism merge to give emancipatory views of technological devices through art making, speculative design and critical engineering practices. We have created a space that embraces and reflects on how digital technology and techniques within shamanic ritualistic practice can reactivate the role of ritual spaces within a contemporary society.

The first version of (2,2) 0 Sonic Architecture of the Inner Space was proposed as a model developed from the conception of speculative technological devices exhibited at Trondheim Artmuseum in May 2017. A second version was made for Art and Science Museum of Singapore in June 2017 adapting to new dimensions of the space, where both sonic landscapes were the result of the creative journey.

The 3rd and final version, (2,2) 0 DORA, is a poetic gesture for allowing the release of geological and historical trauma of a specific site; the sonic architecture was created in June 2018 within the historical context of the World War II German U-Boats base Dora in Trondheim. The base was the largest naval base in North Europe at that time, and the strategic location in Trondheim was secured well, guarded by three other locations in the mouth

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aesrnoopitraolce“r rsoefrolalp itxneeteompi Tehfot osdt neaslisrIgnivig e,r9o10f2er,serehdtro,bIciedh t ofNoinseisiatM ilaòuloqccfio elbignatn)m i foottonbodintaalpuoTm( rof eht nee”wytteilbaesrpilh am N – 0 2,2 mroftalP trA murdelbisivnI b ,tsud ,citsalP ylsuomaf tcejorp ehT .ytitnedi lacihpargoeg fo noitcurtsnoc eht dna gnignoleb fo sgnileef:avetsirK alia,lsnukocJsoryrePbtr,erdseepedanp,isdletnnuoa o ,7102 ,ecapS rennI eht fo erutcetihcrA cinoS ,slatem detsur aaorroptp daoreftestonNi dna emit fo snoitpecnoc raenil dnecsnart ot stpmetta gnicsneeuirses pixehrceft isiav m / pmac eegufeR ruodjuoB lE ,evihcra ecneicS&trA ,noitallatsni dnuos eht pptn o egm nieevbofm o tdanhat— ejbem o eshat hfocuystilauq eno ylno sasheirtoctierrjebtaareahhaTS nretseW sa erutuf dna ,tneserp ,tsap gnire.Idoistndoecso yb y rtocm .eropagniS ,sdnaS yaB aniraM ,muesuM

esd,n evitcelloc senimaxe tI .txetnoc elalicgiatirlfoephoten gilhatbiw olgem a nsiehlttiw elogintiastonpepyolpsteiehdguorht ,revewoh ,tcejbo eht fI gninaem rof erised a fo erutxet gnivaew ot weiv a htiw)enldodiitMc(urtsnoc lanoitaetm nesek rpaemr a,tsca fefvoihrcertataem htadsnaa,h ycroihmwe,m – 0 2,2 mroftalP trA murdelbisivnI c te,hstihntoo,dtcoeTjb.asesriuttaxhewt l,aticiortostsuiohgw oleonmoh yletinfini dna ylsselesaec ot sevihcra ciropsaid nopu sward t,cyerjaorrtpnoeh ,8102 ,ecapS rennI eht fo erutcetihcrA cinoS pseivhty rdarnaw rdfodnseairdeesdaulpcoxleevyelldacidar si ,tcejbo denosittej eht cc/laalu ilpoitcesm idistlwuam ehtsgk ne ice ns eirteIp.xsenreoftiatarottniseivm miorref p etxoe N citamenie ,aroD reknubrutluK ,noitallatsni dnuos ,sessecorp y rotargim elbignatni dna elbignat gniv resbo rof elcihev a edivorp ot 6.sespalloc gninaem erehw .yaw roN ,miehdnorT htiw rehtegot ,noitazinoloc dna sredrob ot pihsnoitaler ni secart dna ,sgnippam seciveD evitatideM snoitidnoc robal suoiracerp desopmi evah taht secrof lacitilop dna cimonoce eht thgis fo euqi.tsirecir-oatesim ved kraow siht sniprednu taht hcraeser ehT h raephotoled taoutnsektteaesdn eh rirposwnieshitt,ayhdtustesceaspasc yhrcaaneigraom lacitilop neewteb sknil ward ot k eet syb llidwek F i dna laer ,lautriv ot noitaler ni noitpecrep iticd arnpa caidtsniamgianpaod eveihca oT .sredrob lacihpargoeggnditeancfiineudm evmao hctarohft dseisguosloeecd rpna msinamahs fo ygolonhcet tneicna gnitanimulli ot weiv a htiw detcudnoc eb l,leivwitkcreopwsrdelpefiygeotilso-cneoaliaditenmatasbmuosr,Fsi.hstmlaer etamina dna etaminani nihtiw eltbfaoregnliuhvteem raon saera si yllacihpargoeg deyalp sah no.isteaizgionloolnohccteathw t en loo r teh s oitome dna tceffa taht ezingocer ew nii cyiltrpaaluhcditnrapylidob taht eveileb ew ,yltneuqesnoC ,yduts esac hcae ni ,ylgnidroccA .sessesceom rpityerm otoasrgniamc ynboidtaem tcraopfm ysetytraolslinweshoctraam sgninaem gniftihs yfitnedi ot stneve fo secneruoqf elosoktcaarstaom t teptsm esoesr aehsrteffo 0 )2,2( .metsys citsiugnil espilce s nlaoccisdynhap a sa snoitcnuf dna noitacinummoc y raropmet yeht eb—’secalp‘ lacisyhp rnaliusclaitirtanpethotpiwsedceatrabim coessta hstnm oiteattsoyn ehetltgtn .segdirb ro ,shtap gnissoerlcpi,tsltuimisl a,sstm nieotpsynsofiotcecnnneotcsi,xseto ncem esidnatsrednu suht snoisnemid lautriv 7 .ecnanoser fo slevel tnereffid otni sesahp hcraeser dlefi etis-no sedulcni tcejorp redaorb ehT alerroc a stneserp hcraeser ruO noitargim fo sredrob ,sredrob lacniihm pasrignoaem ganhisddentaauytgisolloanehrcaeht cnieheww,tsenbonitoaicto .elbarapesni era y:sgtonleom nheceatlpfsoid mlsaicniatim loaphfsoddnnaamsinamahs fo ygolonhcet eht hcihw sa dna egdelwonk ecudorp ot ygolonhcet a sa dootsrednu htob si msinamahs ,ereH erfedResru abo-dejcuiotcBalrE p– ru1O arahaS nretseW ,)SW/AM( pmhacreaeegsu 0 8n.yogiotalocnohLcet gnisu seog srewop evitiutni fo tiusrup a dlefi citcra dn9a10c2idrreobNmneovp u d–esreitrnoetcirsrei tmsinamahs dna msimina htiw tnemegagne oN hguohtlA .)tiunI( qokkagnA dna )imaS( diaoN ,)cidroN( rdieS sa hcus msinamahs fo dn–a2w 1202 hcraM/y raurbeF h –c)aTeI(naiihlgtiw msitenueqVin /ahocneet G 0enivoditlraocw oLs’noitidart eht ot stcepsa tnereffid era ereht .stiripS fo ytilaer gnivil laer a fo gnidnatsrednu derahs a ssapmocne lla yeht ,erutluc td 1202 yaM/lirpA – dnalsI nyagiollooenAh,c)eTtI(laatnigiliadSfo– t3a0hn on itaacmosLinamahs fo ygolonhcet eht taht tseggus eW noitanigami eht hguorht tirips fo dlrow lacigam siht nekawaer dna egrem nac ot–e4m0onconiatacceowLerehw ,sdnim namuh y raropmetnoc ruo fo 1202 rebmeceD/rebotcO – anitnegerb Ay,a)m TI(dsnearieAspsomnielguB .dlroW tiripS eht fo weiv citsimina na egdelwonkca noitalupinam dna noitazilitu eht evslyoevnnriulloijwmhucrd aecsienraem hat hfos tfo raspeu laqritnnheceAt deilppa ew ,krow eht gnikam elihW a setaluspacne ssecorp sihT .sevihcerlabigsnivivniil edhntahsteiw vihsscerandyerotctean rgnio mcrdentnuiodf nhatoebcafops citamenic renni nwo ruo ssecca ot caurortecveiptsaerc a sa dev res noisses y revE .dlrow ,sevihcra citametsys ,sevihcra gnitsixe soetssaehhpcahogrupoprahct istpsiettrsa gtniewreofflliodf f,oelm ihw gnikam tnetnoc fo sessecorp dna dna ,sevihcra neddih ,sevihcra etelephmTo.c0n)i2,,s2e(vnihihctriawwsetne,vsevliahrcuraaddeerfiipisssnailchncu snt anretvaiGm.osrefvd eht ni ecitcarp cihpargonhte fo neo loirtaelh ihectraaeryctrsagpn-iddrriohcterrooliadnuotssrd epna dlefi krow morf era secruos dnuos rodtsniah ,eshevt inhicsryaefnornuoijteaveirtccelloc ruo ni deviecer noitamrofni fo sevitarran slortnoc etats a hcihw ni yaewWeh.stnnooitisanco etl xleacyib nu,oyftisteniegdeitalartrsutnlguics cm utorghntitsam ,sevihcra gnisu ecneirepxe dna ,y romd em iraoeprsdaihdgo leertsys evitaicossa nihtiw skael detacol

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Invisibledrum Map of ( 2,2 ) 0 showing the invisible sonic architecture with graphic spatial visualization of a composition of sonic qualities and motion

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noitcaretnFjord: i ehT .Agdenes noitatneiFyrstasjon, ro ylidob foHysnes sessecorp of Trondheim sdBrettingen napxe epacFort. sdnuo laruanib d carconceptual tsba na htiw Fort, Ins addition toetits gntheoretical ignellahc su ht ,noitatnthe eiroproject sid fo ehas cneireceived repxe eht and originality, row eht ,ylgnnumber idroccA .of novisitors. itpecrepMany laitapvisitors s s’rotisiv a akconsiderable udorpphysical ot sloot and lacigcognitive olonhcet eexperience su ot stpmetta have aecstrong deviecrwhich ep eb ninvoluntary ac stnemnomemories rivne erehw setatsfrom latnem during emerge krow physical eht htiw and gnitemotional caretnI .yaw lanoitnevnMany ocnon a ni deep sensations. sesnesalso yliddescribe ob fo ssenillusions erawa deof neimagery thgieh agiven ekove nac visitors raKphenomenon tahw eviecrepofeafterimages w woh egneland lahcstages ybereht dna bynethe 2 ’.gnirettamemitecaps‘ sa ot derrefer sah daraB of synesthesia. seiromem y ratnulovni woh debircsed evah srotisiV 1 David Abram, The Spell of the Sensuous: Perception and Language in a wMore-Than-Human oh dna ,dellacWorld er er(New a secYork: neirRandom epxe sHouse, uoiverINC, p dna era t1996). sap e10–15 ht fo snoitcellocer ,krow eht gniretne yb 2 Karen Barad, Meeting the universe halfway: quantum physics and the .ssecorp suoicsnoc tuohtiw dekove entanglement of matter and meaning (Durham: Duke University krow Press, eht ,2007). noita234. zilaer lacigolonhcet sti neviG 3 Eleni ygIkoniadou, olotno eThe ht Rhythmic otni noEvent: itagitArt, sevMedia, ni naand sathe seSonic v res osla (Cambridge, MA: MIT Press, 2014). sehtAbsolute woh ,n oisnTowards etxe yabNew dnFoundation a ,secapsof lDialectical autriv fo 4 Slovaj e Žižek, recoil: New gMaterialism nisnes d(London na aid& em wYork: en hVerso, guorh2014). t de150. viecrep era 5 Lawrence Grossberg, Affect’s Future: Rediscovering the Virtual in ecaps the ,ydActual. ob neIn ewM.teGregg b sno&iG. talJ.eSeigworth r laitnet(Eds.), oP .ygThe oloAffect nhcet University yaw atheory hcureader s ni ,(Durham: 0 )2,2( nDuke ihtiw tes eraPress. ygol2010). onhc309 et dna 6 Julia Kristeva, Powers of Horror: an essay on abjection (New York: eht nihColumbia tiw degUniversity rem laePress, r eht1982). dna 1–2. lautriv eht taht hcus 7 eBrian ht hMassumi, cihw ni Parables yaw ehforTthe .eVirtual: caps kMovement, rad eht Affect, fo noSensation itcaretni (Durham: Duke University Press, 2002). ylticilpM.xeBorges, eraf s“Technoshamanism esnes eht stceffand a eWasted rutcetOntologies,” ihcra cinos 8 Fabiane byim BiaeMartins laninterviewed retxe ylgn es esehand T .Reynaldo ydob ehCarvalho, t yb deviecrep TCNXMNSM (blog), June 14, 2017, https://tecnoxamanismo. ot ytiwordpress.com/2017/06/14/technoshamanism-and-wastedsnetni dna deeps ,noitom fo sreyal dda secrof stnevontologies/ e eht emoceb taht stcejbo dnuos tnereffid eht 9 Conscious Mind, Sleeping Brain. Perspectives on Lucid Dreaming, dlred. owStephen y ranigLaBerge ami ehand t nJayne ihtiw lautriv eht gnireggirt Gackenback (New York sehand caoLondon: rppa kPlenum row ehPress, t ,ylt1988). nacfiingiS 3.rotisiv eht fo a morf laitnetop eht ot noitaler sti dna lautriv eht .ecnenammi fo gnidnatsrednu nainosgreB eht hcihw ni ecaps a etaerc ot smia 0 )2,2( noitagen-fles hguorht ,erehw dna tcejbo si tcejbus tcejbus eht fo“:egreme lliw gnihtemos ,gnihton fo 4 ”.ytilibissopmi nwo sti fo emoctuo eht sa ,flesti krow eht gninniprednu hcaorppa lautpecnoc ehT sa ecalp-non eht fo sweiv y rotapicname ni detoor si eht dna robal morf epacse nac eno erehw ecaps a seigoloedi erehw dna ,seitilaer fo noitcudorp latipac 5 ”.sdnim dna straeh niw “ ro tiolpxe tonnac noitisoppo yb sespalloc gninaem ,yltneuqesnoC

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NiccolòMasini Masini 916 Niccolò

Niccolò NiccolòMasini MasiniNomadic Nomadicborders, borders,2019, 2019, Plastic, Plastic,dust, dust,bones, bones,desert desertrocks, rocks, rusted rustedmetals, metals,and andpaper, paper,Personal Personal archive, archive,El ElBoujdour BoujdourRefugee Refugeecamp camp// Western WesternSahara Saharaterritories territories

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Islands between ofintangible intangiblelaicos fo ytilibaniatsus dneaseth ,ecneibetween repxE cidamthe othe N informulation iformulation saM òlocciN of ntem deptoalsen vead rt eehwt d nn i salaseiriedtuatm sm laaveihrd crdaifcouel lnoirhetihwt Islands of Time explores relationships ,”ecneiliof ser fgeographical o mrof a sa y romeMidentity. “ feelings The project nacproject tpecnoc sihT .y romem laicdons afontoptelcenkoscaehtohbgsuiohrchithdwe,nm iaalp rgxaeideblannafic ssim hteotstynsi feelings of belonging and the construction of geographical identity.

The ,m 2 x 6 ,9102 ,)ecnamrofreP( attempts ofactime time and instead approach evissues iissues tingoc a—y romem laudividni laicos sa )1 :sevitcepsrep9.okwrot w mto rarfedhot ofo tserevd itnau rraen b attempts to transcend linear conceptions of ,retaw s’pm ,retawand ,dnasinstead s’arahaS approach enigne desu dnapast, ,stnempresent, gip ,tsud and future as such considering ab em 2,t2s(secorp stsias xe laudividni na hcihw ni tdxestn ocdloahicto s larroelneedgoemhtaysba dsn etocietcffnausfi 0ta)h such as memory and movement by considering past, present, and future eegufeR ruodjuoB lE ,nenil no lio deeply geopolitical It ,examines examines collective d aotsasediteisnsuam pm evitcelloc sa )2 ;dna ,sgnolaed bneahm /s ahrcgiahiw mooccnyebm,reatlsuycsitlraaitpap nsi ,adnoa deeply entangled within a global geopolitical It collective seirotirret arcontext. acontext. haS nretseW pmac ed aleucsE hticonstruction w noitaroballoc nIwith ( memory representational construction with viewto totweaving t o,hccau— s ysrAom .paem sweaving ap eht fo segami tnemptonlerveeffdidehnti gdneiivlp lopvanei bssneaccorm p eyttsiynsusmihm memory and the archive as a representational aaview nidibA lausivoiduA nóicamroF new project draws upon diasporic archives to fo sto noitatneserper evitcelln oca fsoweochnse0ts)i2x,e2(efhoTp1a.sm eh stnxieftonosp c ulaocrighh pgau rgoorehgt lau dT ivi.d new historical historical textures. To do this,arthe archives ahaSproject ecnatsiseRdraws eht dnahupon elaS diadiasporic K -redügrE ladiS yb y ratnexperimentations. eexperimentations. mucoD develop visual/cinematic rseeks omem ,tsriF .y romem leaduodm iv-id taeetfaelarrceevreustn ed 2,n2i afomsoerfud cei tdih crnaucoirngossi etlsbaipsievh nti develop a series of multidisciplinary visual/cinematic ItItyseeks egamI ,)dtL snoitcudorp etats oreZ fo noitcudorper lacinahcem a tondsni udonsaatn htafrogasitdsesriehtTni.m ehutrn epaehds stecsieprepdem docisndanm to intangible migratory processes, to provide provide a vehicle for observing tangible processes, / pmaand cand oiciraintangible pA drareG :tidmigratory erC seirotirretand arahacolonization, S nretseW fo with nwith oitcaretni eht fo tluser a safodsento cu sno eSn.sotin tsaopc itrotm dcnaersaeisteiilraoum q emmor,fdendoacm tiesvoepm mappings, borders and colonization, together mappings, and traces in relationship to borders together nac hcihw ssecorp cimanyd acsiti aym roem vndenrueohshdtniw uedviveidniunoas niecMeh2.ttnei m stcneojrbio a slatn the have imposed imposed precarious precarious labor laborconditions conditions the economic economic and political forces that have laudividnI 3.laudividni na fo txdeetin enenehsp t ohlteivweedchncardareoscecraen lpopcaesfeilgdan uagnsadlew hiTe.gencah pcs and attenuated attenuated other histories. and mrof taht seitinummoc ni pihfsoresbtp meecm nisetn sreum ocnoforiven rae scnitoaim tcen llioccn eri noycbgd neipconleeuvfl ed For each case study, the work will seek seek to to draw draw links links between betweenpolitical political sdachieve een nommoc rof elbakramed r neraalasietiatp insu-omem .tonietm g fooCsn cnnuofreivhnt edynraoammeemnilcaircooirseeth nti propaganda and ideologies that have defined propaganda defined geographical geographical borders. borders.To To achieve al ed xuaicos serdac seL‘.sdtenlelam c nso hrciavw msoeciegbethacrithswci,tsstusoecreatonhicdyn nb e lhacHutsanhiw hteiw spa this, substantial on-site fieldwork will be conducted this, conducted with with aa view view to toilluminating illuminating llacer“ slaudividni nehw ,yltneuoqtesen ]y rsoim mienm rioem mI groeCm4.m a-ofoenskdrnoawyegmoalorfnlhaciceot sk[r’oew htén something of the role that colonization has something has played played geographically geographicallyisis”areas areas ycase llacstudy, istudy, pyt nac snoitcellocer eseht ,htsreicbivreiedhltaecd igeocleornphycaem t fotashwt esievcynreoirteapxicenraomsetneevvige particularly impacted by migratory processes. particularly processes. Accordingly, Accordingly, in in each eachcase ’shmeanings cmeanings awblaH ni ,skrowemarf laliaccoiS alim tir.sceditnin a unm gim seodceevm italsuechetpsni,hgtniiwkarm traishygrueovrehbt the research research will attempt to track sequences the sequences of of events events to to identify identifyshifting shifting ctemporary urtsnoc ot y romem evitcellotcah eh eht.syelceisticcaerrpp“gneirrae,esndirgonwe t tecyabpdseasudestaneerm cu evrtashnei W and connotations connotations associated with particular and particular physical physical ‘places’—be ‘places’—bethey theyttemporary tnanimoderp eht htiw ,hcopeyh niwsoi h cnih nae goclaoennhic,edtrloactcigaid o wsttcseaflperehdtnfaoseegcaam rbim settlements, connection points, limits, crossing settlements, crossing paths, paths, or or bridges. bridges. ecitcarp citsilautir cinamah5”s.yntiehictiows seehut qfoinshtchegtudonhat The broader project includes on-site field field research research phases phasesinto intodifferent different nigeb y romem fo mlaer eht ota snginhotilw ebsetachatpsgnlaih uteirmfo selsoeroedhnt eehtawv,io tcSaer nac locations, which are all situated in geographical locations, geographical borders, borders, borders bordersof ofmigration migration sselkcer fo seicagel eht gniwolloF ?y rotsih fo mlaer eh.yttneicdoestynreasreorpm ereetbnooct and of of political displacements: and dluow aropsaid dna sredrfo berfuotcsentiohictrin dodSn0a)s2n,2o(itfo penconiosrcew lainoloc Aficein v etn sr,fimeshiT giom aipdo”rpwesanw “ eesceah ep levaendem leodnoemhpa csairo dpeso pSTr.eengnreI m ehet Location 01 01 – – El El Boujdour Boujdour Refugee Location Refugee camp camp (MA/WS), (MA/WS), Western WesternSahara Sahara sa hcus srotcaf edulcni dth rieht morf yawa slaudividni folancoigisorleopnshidcedtneavi,tnaoluitcaerpgsim psoirdf fodneocirtopfe,ctnoecmeehctalm territories – – November November 2019 territories 2019 dna ,msilarebiloen ,noitazilabolgnsiamhuceussusm ectroAf m foieh cndenuoqrT estnaodceatisbaihsxdenaselecm h ivoed t oeeissrevwdtn ahoW ces.m A s.7il1a0i2reypam Mi Location 02 02 – – Genoa/Ventimiglia Genoa/Ventimiglia (IT) Location (IT) –– February/March February/March 2021 2021 ,tnemecalpsid decrof fo seirutdnneac tfroAtlruosfeerdaasmi ysaadwon .semit tneserp ni noitargigmniltapbaodlga d nJi n foi erconpeaugqneisSnfooc m au ylepsm is teocn edin 71e0s2aeerncu uM cSa gninoitseuq a ot esir evig ncaicnsonsohitaon us,n ,yean dooTt biedrreohbw eci alapcsihep hat rfgoosengoxisenlpem moidc w Location 03 03 – – Salina Salina (IT), Location (IT), Aeolian Aeolian Island Island –– April/May April/May 2021 2021 egelivirp a si ytilibom taht dn.yiemnrnuiogjneivraiteaBer”c.genhitgfnootlelubs“efroethpteecrneowc syerpeavceshdtnfaol rgRoOegD d0n)a2,s2t(c,enjb oiussrecvfiliacenpfisdontaddern3fienhoTc Location 04 04 – – Buenos Buenos Aires Location Aires (IT), (IT), Argentina Argentina –– October/December October/December2021 2021dna tcefler ot y rassecen csitteio,pseaihspi a,A fo erutan eht nevig dnA` .yaw lausivlaecriogm ptcgirnoiw psoalild oloaen gifaoneesm aeoln ereh eh a roefdeisrnuotsceegr tneserp ew thgim woh ,emit ssorccaiynroosm em tnueasretrlpaecrirnoatispihotdsynda eh t ;eetviistcefililcoecpfsoanfooitaam A central central part part of of the the research A research will will involve involve the the utilization utilization and andmanipulation manipulation yb ti saaI ?emit fo gnireyal dnaethxtetnnih otciw lab8o10lg2 reenduaJonrbi daentai esrgcnsidaw naetrsuretcdentuihrcuroa of both both found found migratory migratory archives of archives and and living living archives. archives. This This process processencapsulates encapsulates ?seirotsn iham dlroetG nuIIdrnaW a sedilrroom Wem ehtlafnootsxreetpnogn c iltahcgirilohtgsih spectrum of of different different artistic artistic approaches spectrum approaches to to existing existing archives, archives, systematic systematicarchives, archives, laicand os rof secalp gnilaever ylreahlu raepseab n noiieghedr nreod t csaitw ehacT s.m rTronbi dan roaDsreesdarboB staoB-U unclassified archives, archives, new new archives, unclassified archives, incomplete incomplete archives, archives, hidden hiddenarchives, archives, and dein uin nthe ithe tnoc eht dna noitazilabodln gagn woitrgtafhotatraeetpnoersueE rphethrot N ninyilleasiacbeplaseva,n hctrsaeegsrearl ,eim personal or or third-party third-party archives. archives. Given personal Given the the role role of of ethnographic ethnographic practice practice 6 erehw y rotirret a ,ecalp a stnedseerrupceersrseadwrom b iA .d nn oionrU rgt eh T niaenpooitraucEolechitgefotahrtw s eoh creation of of archives, archives, and and by creation by extension extension the the way way in in which which aa state state controls controlsnarratives narratives roarchives, citats a ylpmis reven si ”tsap“hetu hoTm.genhiht snailcsnyoltin ecnoalm t a rerhep toeerear”hetryubtudfe“ ddrnaaug”t,slalepw“ relating to diasporic cultural identity, memory, and experience using relating to diasporic cultural identity, memory, and experience using archives,

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icoS dna latnemirepxE ni ydutS A :gnirebmemeR ,tteltraB cirederF 1 the.l)a2role of archival materials in the development and sustainability of socialelbignatni fo noNiccolò italum Masini rof eh Nomadic t neew aExperience, teerbofsepriehhstnsoiitIal.edresneirgoalm pxi eehem t hi TgufoorshdtnalalseIr eht fo s,9s1e0n 2 ,esrreadw robace idtaamroeNnie ng isaoM th òlcoich ciw N 391 ,sserP ytisrevinU egdirbmaC :egidrbmaC( ygolohcysP “Memory as a form of resilience”, skcor tresed ,senob ,tsud ,citsalP systems can be explained through the concept of memory. This concept tcejorpcan ehT .ytitned i lacihpargoegllfao—ngoniitgcnuortlesb notconehdtndangangignnigonleoblefbo fsogn sgilneielfeefof yalpretni lea,h t etagitsevni ot yenruoj .dibsocial I 2 (Performance), 2019, 6 x 2 m, nosreP ,repap dna ,slatem detsur dibI 3 be understood from two perspectives: 1) as social individual memory—a cognitive seussi hcaorppa dSahara’s aetsnisand, dnawater, emitfcamp’s ofoystinlwater, iobiatptsencindon c arasesn en ilsdsn eletchsgnieaw rt tontesrtephm nietethat ezisahpm / pe mo actetep gum fee RtrtuaodnjuaofBolEtr,eavp ihcsraa sweL .snart dna .de ,y romeM evitcelloC nO ,shcawblaH eciruaM 4 eW process in which an individual exists sa erutuf dna ,tdust, nesepigments, rp ,tsapand tgnneused im reedengine viosn moca ybfitned mi eovtokm eedsnllaiw y reom moecm tusoalh an cu fisehT .noitcellocers-eniruotirroretyarroahmaSenmretysn a ogacihCthat fo ytisis revaffected inU ehT :noby dnothe L dngeneral a ogacihCTsocial ( resoC .context A oil on linen, El Boujdour Refugee 6 ,)2which 991 ,ssers/he P and, in particular, by communities.1to belongs, and; 2) as collective evitcelloc senim axe Western tI .txetSahara nosac slau ceitvilroeps odelguolacbtohlguaonhithrtoiwy rdoem lgenm atn ,neoyitlp aceoeldcfiiceps a fi sa—ytilaropmet sdrawot camp, territories .04 ,.dibI 5 memory—a images of gthe nivpast aew ot weiv a htiw(Inncollaboration oitcurtsnowith c laEscuela noitatde neserper a sa evihcra eht dna y romem .flesti ecnetsixe rof rohpatem a sweiv retnI :mscommunity ilairetaM weN ,I nprocess iuT red nainvolving V sirI dna njithe hploDdevelopment kciR 6 Formación Audiovisual Abidin ,)2102 ,ssgroups erP seitinof amu H nepO :robrA1nThe nA( seexistence ihpargotraC & of collective representations through individuals. ot sofevihcra ciropsaiKaid d noSalehand pu swathe rdResistance tcejorpSahara eht ,siht od oT .serutxet lacirotsih wen -njihploD/daolnwod/skoob/gro.sserpseitinamuhnepo//:ptth the isagrounded memory. First, memory skees tI .snoitatnemDocumentary irepxe citaby mSidal enicErgüder/lausiv y ranilpicsiditlum fo seires a poleved ,avopast rofikiN isaB ;fdp.msilain ireseveral taM-weN_features 3102_niuT-of redindividual -nav Zero state productions Ltd), Image tsilon airetthe am einterests ht morf ytitnof edIthe dna spresent redroB naeand poruE depends is“ not a mechanical reproduction ,sessof ecorp y rotargCredit: im elb ignatApariciocamp ni dna elbi/gnat gniv resbo rof elcihev a edivorp ot Gerard .261–151:)6102 .naJ ( 72 enzcełopS aidutS ezcinargoP ”,hcaorppa past events. Second, memories htiw of rehtegot ,noitaWestern zinoloSahara c dnaterritories sredrob ot pihsnoitaler ni secart dna ,sgnippam 01.10.72.610are 2.sspconstructed /09251.01:ioD as a result of the interaction .251 ”,sredroB nae2pMemory oruE“ ,avorois fika iNdynamic 7 process which an individual with her environment. snocan itidnoc robal suoiracerp desopmi evah taht secrof lacitilop dna cimonoce eht y ranigamI na ni elixE fo ygoloedI ehT “ ,isabbA itsaH 8 3 change in/01accordance .seirotsih rehto detaunetta dna 131.01:iod .52–61with :)7102the ( 1 .onneeds ,13 sedopand itnA ”life ,efiLcontext of an individual. Individual .6100.1.13.by sedmembership opitna recollections are of course influenced in communities that lform acitilop neewteb sknil ward ot kees lliw krow eht ,yduts esac hcae roF /ytitnedI naeporuE fo tnempoleveD eh T ,noissimmoC naeporuE 9 the-esocial eveneeds ihca oT .sredrob lacihpargoeg denfied evah taht seigoloedi dna adnagaporp tarotcermemory iD ,weiveR ycenvironment. iloP A :ssenisuB dehCommunities sinfinU :seititnedI are remarkable for common aeporuE :slesswhich urB( noibecome tavonnI dnawhat hcraesHalbwachs eR rof lareneG called ‘Les cadres sociaux gde andninterests, nitla animulli ot weiv a htiw detcudnoc eb lliw krowdlefi etis-no laitnatsbus ,siht /ti.imilop.tcejorp-alem.www//:ptth .21 ,)2102 ,noissim4moC mémoire’ [social frameworks of memory]. Consequently, when individuals “recall” saera si yllacihpargoeg deyalp sah noitazinoloc taht elor eht fo gnihtemos fdp.0869_312412571/60902102/hcatta/smc/lpu events or experiences that may precede their birth, these recollections can ,ydtypically uts esac hcae ni ,ylgnidroccA .sessecorp y rotargim yb detcapmi ylralucitrap be very similar within the same communities. Social frameworks, in sHalbwachs’ gninaem gniftihs yfitnedi ot stneve fo secneuqes kcart ot tpmetta lliw hcraeser eht words, are “precisely the instruments the collective memory toy rconstruct aropmet yeht eb—’secalp‘ lacisyhp ralucitrap htiw detaicossa snoitatonnoc dna :STNEused MGDEby LWO NKC A an image of the past which is in accord, in each epoch, with the predominant .segdirb ro ,shtap gnissorc ,stimil ,stniop noitcennoc ,stnemelttes dna pmac eegufer ruodjuoB lE htiw noitaroballoc nI :10 noitacoL 5 thoughts tnereffid otni sesahp hcraeser dlefi etis-no sedulcni tcejorp redaorb ehT – redof ügrthe E ladsociety.” iS / y ratnemucoD arahaS ecnatsiseR eht noitcbelongs udorP oreZto the realm of memory begin So, when does something that noitargim fo sredrob ,sredrob lacihpargoeg ni detautis lla era hcihw ,snoitacol to be represented the Following :stnemecalpsid lacitilop fo dna anilaS iein nam A / realm izzattoB of artthistory? elE :tnerefeR 20 noitacoL the legacies of reckless colonialism, new conceptions and definitions of borders and diaspora would saZ ataneR :rotaruC dna tnerefeR 40 noitacoL emerge. These “new” diasporic phenomena might include factors such as arahaS nretseW ,)SW/AM( pmac eegufeR ruodjuoB lE – 10 noitacoL aipsirC ailuiG :rotidEof txeindividuals T displacement, forced migration,inand dispersion away from their 9102 rebmevoN – seirotirret homelands asyba dconsequence neoliberalism, and etroppus yllaicffioof si eforces miT fo ssuch dnalsI tas cejoglobalization, rp ehT noitatoday dnuoF reis mlaliZresult -relliM eof hTcenturies of forced displacement, imperialism. What we .see 1202 hcraM/y raurbeF – )TI( ailgimitneV/aoneG – 20 noitacoL and not simply a consequence of increased global migration in present times.

Today, complex geographical insubordinations can give rise to a questioning 1202 yaM/lirpA – dnalsI nailoeA ,)TI( anilaS – 30 noitacoL of the very concept of “belonging.” Bearing in mind that mobility is a privilege confined to specific subjects and geographies, it is necessary to reflect and 1202 rebmeceD/rebotcO – anitnegrA ,)TI( seriA soneuB – 40 noitacoL reconsider diasporic phenomena in a more visual way. `And given the nature of dystopian representation of collective memory across time, how mightnwe oitapresent lupinam dna noitazilitu eht evlovni lliw hcraeser eht fo trap lartnec A our understandings in a broader global context and layering of time? Isa siteby taluspacne ssecorp sihT .sevihcra gnivil dna sevihcra y rotargim dnuof htob fo highlighting personal memories and untold histories? ,sevihcra citametsys ,sevihcra gnitsixe ot sehcaorppa citsitra tnereffid fo murtceps Borders and border regions can be particularly revealing places fordsocial na ,sevihcra neddih ,sevihcra etelpmocni ,sevihcra wen ,sevihcra defiissalcnu research, especially in the present era of growing globalization and the continued eht ni ecitcarp cihpargonhte fo elor eht neviG .sevihcra ytrap-driht ro lanosrep growth of the European Union.6A border represents a place, a territorysewhere vitarran slortnoc etats a hcihw ni yaw eht noisnetxe yb dna ,sevihcra fo noitaerc “past” and “future” are permanently clashing. The “past” is never simply ,asestatic vihcraorgnisu ecneirepxe dna ,y romem ,ytitnedi larutluc ciropsaid ot gnitaler

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suoiraV ,9102 ,sevihcrA gniviL inisaM òlocciN detcelloc fo weiv hcraeser yduts dellatsnI ,sezis ,ylatI ni dnuof ”slairetam sevihcra gniviL“ 68 .ailartsuA dna adanaC ,anitnegrA

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sredrob eviecnoc dluohs ew spahreP .ytitne defiisso ni—evitcepsrep tsilairetam wen a morf ytitnedi dna ,daetsni ;dlofnu lliw tahw ton si ”erutuf“ eht hcihw dna derugfinocer ylevitareti era ”erutuf“ dna ”tsap“ .ytivitca-artni gniogno s’dlrow eht hguorht dedlofne eht ,evitcepsrep tsilairetam wen a ot gnidroccA eb nac ti“ ti rof—egnahc ot nepo sniamer ”tsap“ evitareti na ni derugfinocer ylevitcudorp ,demeeder ellihcA sa ,roF 7”.rettam ,emit ,ecaps fo gnidlofnu desu sredrob ,8102 ni ti tup ssel ro erom ebmebM 8 .snoitaler dna egnahcxe etatilicaf ot secalp eb ot semarf elpitlum edulcni yllacipyt seirots efiL ecneirepxe lanoitansnart ,yltneuqesnoC .ecnerefer fo ,elpitlum yltnerehni era seititnedi lacihpargoib dna ,spahreP .gnitciflnoc semit ta dna ,gnignahc ,seititnedi detsen ro dereyal gniees naht rehtar fo ciasom a ezingocer ot elbisnes yllaitnetop si ti txetnoc eht htiw seititnedi tnaveler yllanoitautis esac eht yllaicepse si sihT .ytitnedi gninimreted ni devlovni elpoep ,stnargim fo sevitarran eht nihtiw nerdlihc dna ,spihsnoitaler lanoitansnart etamitni fo sgnileef ,stxetnoc eseht nI .segairram dexim morf ylevitaler era gnignoleb lanoitansnart dna ciropsaid nac stnemhcatta elpitlum ,noisnetxe yB .nommoc lanoitansnart‘ fo noisnemid a sa dezilautpecnoc eb dna egrof slaudividni elibom hcihw ni ’,gnignoleb knil taht snoitaler laicos dednarts-itlum niatsus 9 .tnemelttes dna nigiro fo seiteicos rieht rehtegot elbignat a sa sreffo hcihw ,hcraeser sihT eht nihtiw redrob a fo aedi eht fo noitatneserper ,noitom ni erutluc fo sgnidnatsrednu fo txetnoc tnereffid fo sessecorp noitamrof eht etagitsevni lliw ,os gniod ni dna ,saera lacihpargoeg ”denfinoc“ eht gnidrager sesehtopyh evitaluceps etareneg .shtym fo noitaerc dna y romem fo noitcurtsnoc noitatnemirepxe lausiv evlovni lliw ssecorp sihT ot gnimia nrut ni ,ecnetsixe fo stca otni dedivid gnirebmemer fo noitca eht rof ygolana na etaerc s’tcejorp eht gniruD .stnemevom gnippam dna htiw loot a sa ev res lliw segami gnivom ,gnidlofnu

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gnirewoL resarF nomiS ossified entity. esuohdPerhaps lei F dna we noishould ssimmocconceive tcejor P 9borders 102–7102 and identity ,)GAC(from y rellaaGnew trA materialist y raropmetnoperspective—in C htiw ycnediseR which the “future” is not what will.aunfold; danaC ,rinstead, evuocnaV “past” and “future” are iteratively reconfigured and enfolded egrthrough al a ,889the 1 dnworld’s a 6891 nongoing eewteb tintra-activity. niop emos tA According nomito S eahnew t momaterialist rf deraeppaperspective, sid etinarg fothe noitces “past”hsremains itirB ,retopen snimtto sechange—for W weN ni tnit em “it uncan oMbe resarF 1 a morproductively f ,noitacoler freconfigured o ssecorp ehtinnIan redeemed, .aiterative ibmuloC eht ot egof dirspace, B olluttime, taP ehmatter.” t raen d7nFor, alsi as cffiAchille art yssarg unfolding Mbembe puttaitkin ,yauQmore retsnor imless tseW law2018, draobborders tnorfreused vir wen to rube of places doog a to ybfacilitate derewol sexchange aw ’rerolpand xE‘ relations. resarF no8miS frames ehLife t ot dstories eneppatypically h tahw foinclude drocermultiple on si ereh T .teef of reference.

Consequently, eht fo eru tats lanigiro etransnational ht dna ,noitceexperience s devomer and multiple, gnirebiographical woL erehw siidentities sihT .nettare ogrinherently of gnol si tn emunom changing, dna noand itseat uqtimes elpmiconflicting. s a morf ,naPerhaps, geb resar F nomiS rather fo ecthan eip taseeing ht ot dlayered eneppahortanested hw :ytiidentities, soiruc fo tca na it is potentially weN fo ytiCsensible eht ta tsto ivirecognize hcra ,sekyaDmosaic y rraB ?of enots situationally ftel neeb yrelevant lbaborp identities dah ti detswith egguthe s ,recontext tsnimtseW determining theytcase gnidda ,s0identity.

891 etal eThis ht niistoespecially peD skroW iC eht ta within thguothe ht enarratives H .krap raof c amigrants, won saw epeople tis topeinvolved d eht tahint intimate ro elbbtransnational ur rehtie eb orelationships, t ylekil saw kcand olb echildren tinarg eht from contexts, s’emixed noemomarriages. s ni degdolIn ti these enigam i ot dekifeelings l I ;llfidnof al diasporic.yand belonging vi httransnational iw nworgrevo d na yssomare ,nerelatively drag kcab common. a dnuoBy f I ,extension, y rarbiL cilbmultiple uP revuoattachments cnaV eht nI can be conceptualized reviR resarF ehtas noa kdimension oob evitaroofm‘transnational emmoc laiceps belonging,’ in awhich enizagam ibmulomobile C hsitirindividuals B lufituaeB yforge b dehand silbup sustain hpamulti-stranded rgotohp a deniasocial tnoc krelations oob ehT that .68’ olink pxE rof together der dtheir na resocieties taews elytof s-origin cidroNand a gnsettlement. iraew nam 9a fo research, fThis o elip llams a ewhich diseb offers gnihcuas orac tangible ,tah mopmop representation noitpac ehof t nthe I .uidea aetalof p eanborder ipla ysswithin arg a nthe o skcor context ffatsof ,58understandings ’ fo remmus ehtofniculture taht min ialcmotion, srotide eht will investigate retpocileh athe dnformation a yllerroB eprocesses ciruaM reof hpdifferent argotohp “confined” ”resarF ythgeographical gim eht“ fo ecareas, ruos eand ht ”dinerdoing evocsiso, d“ tolip generate eht ot esspeculative olc ,seikcoRhypotheses naidanaC eregarding ht ni ssaP the resarF ta construction myths. yehT .atreblAofdmemory na aibmuand loC creation hsitirB neofew teb redrob This visual sa ,yprocess ltniauq will rehtinvolve ar sretaw daeh experimentation s’revir eht debircsed divided existence, nwod dinto na kcacts or a of red nu morf pin u gturn nilbaiming bub ,elkto cirt“ a create gnilan loranalogy teluvir afor esthe ool saction tel ,nrof ut remembering ni ,taht dnop a ot and mapping movements. During the2 ”project’s .epols a nwod unfolding, moving images will serve as a tool with

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which to generate awareness of the real through the imagined. It is therefore ,ecneirepxE a cidamoN inisaM òlocciN ,”ecneiliser fo mrof a sa y romeM“ journey to investigate the interplay of feelings of belonging and not belonging—all ,m 2 x 6 ,9102 ,)ecnamrofreP( as part of an attempt to emphasize the inherent weightlessness and instability ,retaw s’pmof ac ,retaw ,dnas s’arahaS nigne desu dna ,stnemgip ,tsud any memory or un-recollection. The final outcome will seek to identify aemovement eegufeR ruodjuoB lE ,nenil no lio towards temporality—as if a specific location, memory or thought could sserve eirotirreus t aras ahaS nretseW ,pmac ed aleucsE htiw noitaroballoc nI( a metaphor for existence itself. nidibA lausivoiduA nóicamroF arahaS ecnatsiseR eht dnahelaS diaK -redügrE ladiS yb y ratnemucoD egamI ,)dtL snoitcudorp etats oreZ / pmacoicirapA drareG :tiderC seirotirret arahaS nretseW

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Niccolò Masini Living Archives, 2019, Various sizes, Installed study research view of collected “Living archives materials” found in Italy, 8667 Argentina, Canada and Australia.

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Remembering: A Study in Experimental and Social laicos fo ytilibaniatsus d1nFrederic a tnePsychology mBartlett, poleve(Cambrdige: d eht ni sCambridge lairetamUniversity lavihcraPress, fo e1932). lor eht nac tpecnoc sihT .y romem laic2oIbid. s fo tpecnoc eht hguorht denialpxe eb nac smetsys evitingoc a—y romem laudivid3nIbid i laicos sa )1 :sevitcepsrep owt morf dootsrednu eb 4 Maurice Halbwachs, On Collective Memory, ed. and trans. Lews stsixe laudividni na hcihw ni txetnoA. c lCoser aicos(TChicago larenegand ehLondon: t yb deThe tceUniversity ffa si tahoftChicago ssecorp 1992), evitcelloc sa )2 ;dna ,sgnoleb eh/Press, s hcih w o61. t seitinummoc yb ,ralucitrap ni ,dna 5 Ibid., 40. tsap eht fo segami tnempo6 leRick vedDolphijn eht gnand ivlIris ovnVan i ssder eco rp yI,tNew inuMaterialism: mmoc a—Interviews y romem Tuin fo snoitatneserper evitcelloc fo &eCartographies cnetsixe e(Ann hT 1.Arbor: slaudOpen ividHumanities ni fo spuoPress, rg h2012), guorht http://openhumanitiespress.org/books/download/Dolphijny romem ,tsriF .y romem laudivivan-der-Tuin_2013_New-Materialism.pdf; dni fo serutaef lareves ni dednuoBasia rg sNikiforova, i tsap eht fo noitcudorper lacinahcem a ton s“European i dna tnBorders eserp and ehtIdentity fo stsefrom retnthe i ematerialist ht no sdneped approach,” Pogranicze Studia Społeczne 27 ( Jan. 2016):151–162. fo noitcaretni eht fo tluser a sa deDoi:10.15290/pss.2016.27.01.10 tcurtsnoc era seiromem ,dnoceS .stneve tsap “European nac hcihw ssecorp cimany7dNikiforova, a si y rom eM 2.tnBorders,” emnoriv152. ne reh htiw laudividni na 8 Hasti Abbasi, “The Ideology of Exile in an Imaginary laudividnI 3.laudividni na fo txetnocLife,” Antipodes 31, efil dna sdeenno. eh1 t(2017): htiw16–25. ecnadoi:10.13110/ drocca ni egnahc antipodes.31.1.0016. mrof taht seitinummoc ni pihsrebm em yb decneuflni esruoc fo era snoitcellocer 9 European Commission, The Development of European Identity/ sdeen nommoc rof elbakramer era seIdentities: itinumUnfinished moC .tnBusiness: emnorAivPolicy ne yReview, romem laicos eht Directoratefor al ed xuaicos serdac seL‘ dellac General shcawb laResearch H tahwand emInnovation oceb hc(Brussels: ihw ,stsEuropean eretni dna Commission, 2012), 12. http://www.mela-project.polimi.it/ ”llacer“ slaudividni nehw ,yltneuqesnoupl/cms/attach/20120906/175214213_9680.pdf C 4.]y romem fo skrowemarf laicos[ ’eriomém yllacipyt nac snoitcellocer eseht ,htrib rieht edecerp yam taht secneirepxe ro stneve ’shcawblaH ni ,skrowemarf laicoS .seitinummoc emas eht nihtiw ralimis y rev eb tcurtsnoc ot y romem evitcelloACKNOWLEDGMENTS: c eht yb desu stnemurtsni eht ylesicerp“ era ,sdrow tnanimoderp eht htiw ,hcope hcae ni ,drocca ni si hcihw tsap eht fo egami na Location 01: In collaboration with El Boujdour refugee camp and 5 ”.yteic/oSidal s ehErgüder t fo sth–guoht the Resistance Sahara Documentary nigeb y romem fo mlaer eht otZero sgnProduction oleb taht gnihtemos seod nehw ,oS sselkcer fo seicagel eht Location gniwoll02oFReferent: ?y rotsElettra ih fo Bottazzi mlaer /eAmanei ht ni dSalina etneserper eb ot dluow aropsaid dna sredrob fo snoitinfied dna snoitpecnoc wen ,msilainoloc Location 04 Referent and Curator: Renata Zas sa hcus srotcaf edulcni thgim anemonehp ciropsaid ” wen“ esehT .egreme rieht morf yawa slaudividnText i foEditor: noisrGiulia epsidCrispiani dna ,noitargim decrof ,tnemecalpsid dna ,msilarebiloen ,noitazilThe aboproject lg sa h cus sofecTime rof fisoofficially ecneusupported qesnoc abysa sdnalemoh Islands ,tnemecalpsid decrof fo seirutnecThe fo Miller-Zillmer tluser a si yFoundation. adot ees ew tahW .msilairepmi .semit tneserp ni noitargim labolg desaercni fo ecneuqesnoc a ylpmis ton dna gninoitseuq a ot esir evig nac snoitanidrobusni lacihpargoeg xelpmoc ,yadoT egelivirp a si ytilibom taht dnim ni gniraeB ”.gnignoleb“ fo tpecnoc y rev eht fo dna tcefler ot y rassecen si ti ,seihpargoeg dna stcejbus cfiiceps ot denfinoc fo erutan eht nevig dnA` .yaw lausiv erom a ni anemonehp ciropsaid redisnocer tneserp ew thgim woh ,emit ssorca y romem evitcelloc fo noitatneserper naipotsyd yb ti sI ?emit fo gnireyal dna txetnoc labolg redaorb a ni sgnidnatsrednu ruo ?seirotsih dlotnu dna seiromem lanosrep gnithgilhgih laicos rof secalp gnilaever ylralucitrap eb nac snoiger redrob dna sredroB deunitnoc eht dna noitazilabolg gniworg fo are tneserp eht ni yllaicepse ,hcraeser erehw y rotirret a ,ecalp a stneserper redrob A6.noinU naeporuE eht fo htworg ro citats a ylpmis reven si ”tsap“ ehT .gnihsalc yltnenamrep era ”erutuf“ dna ”tsap“

tniap y raropmeT hcaeL eiddaM ,tnemunoM resar F nomiS ,gnikram ,4 tcO – 03 tpeS ,retsnimtseW weN yessaM ttocS :tiderc egamI ,9102

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’ ytiCfoechBarry ep joocrepr eoht tetlat abhisthe tneersu otnTNew txetnoc ehsuggested t h;tsiswecsoeritpiittsnhad tN natvserlieFr hybeen itautis Westminster, ot noitaler ni noituloser fo dnik emos gnicudorp fo eno emaceb melborp ehT neodiitaprobably tlliawnoleft ac ehWorks t yllaicDepot epse siinsithe hT .late ytitn1980s, edi gnadding inimreted at theesCity gnisserdda gnituor-er lautpecnoc a ;noitazilautca s’tcejorp eht ni secnesba gniwang voliotavdepot niteslrpiFosite eepht,was shtn asnaeH ht· nihtiw thought eht gniruonoh osla elihw ,lasoporp eht fo ytilibaborpmi dna ytilibissopmi eht etinarg eht erehw ot lacol puon rthat gi d snethe N toanow brgfiomtarfocar pspepark. uvsitaerhrtHe rcdolih c tdblock atndoeither aprst ietam oritni .resar F nomiS gnirewoL fo ertnec eht ta eslupmi lanigiro ;dna ,noitaN tsriF tyaqyathe Qnleagranite eh dnnaa,sdpwas eithisonlikely poeitdaleeto br lobe eitsaonpsonrrubble fo sgnileIeliked f ,stxeto tnimagine oc eseht it nIlodged .segairin ram dexim morf landfill; someone’s dna ,gnittuc ,gniltnamsid fo tca eht ,tnemegnarraer s’tcejorp eht fo trap sA tlaulgeerreeralbmossy gancilgpnpoand yb sgniward denoitpacnu eerht-yftfi fo koob a :agas cihparg a emaceb gnitacoler .ytirohtuaback yyrleovtaigarden, alelb lalovergrown faontoriotapnpsunsawith erthtdsnivy. aaHcir·opsaid nac sIn tnthe emhVancouver catta elpitlPublic um ,noLibrary, isnetxe yI Bfound .nomamoc lasoporp ym gniterpretni ylesolC .renkculK leahciM rotartsulli desab-revuocnaV noaissneerbook m ideraon eRiver cnoc eb morf redaer eht yenruoj serutcip eht ,y rotsih tnareniti sti dna tnemunom eht rof elbaliava evah I naht evitaspecial rlraannoiettacommemorative ancsirntanrite‘ rfom iuq dseathe wdoelzlFraser oilfau tathpW egtrsoby lagu i,yealisbootColumbia mechffi ciuhSw.enmagazine s’tnemunom eht gnikcart ,ssaP resarF ot kcab dna retsnimtseW weN ot seikcoR eht s’licnuoC eht refta troppuspublished sndonitaaN rfiFsBeautiful nd iriuvciden sBritish rie’h,grnoifgn ecoalepbs niel ct’86. ah taaelceirtolcontained anicAos.edveisdunalaerphotograph tse-vitolrupmlanvioartpsp uas no detnirP .tnemnodnaba lautriv dna ,noitarbelec sti ,noissergorp llihnwod s’GAC ot noitaler ni tnerapfor pa sExpo akw n eltiThe s neolbibook d tnfeomewearing elbtaterrsadLnaaaNordic-style irR o feoih seCitsweater teegtotat man koob eht fo seipoc net ,etanobrac muiclac morf edam ”repap enots“ foorpretaw htiw stpmetta nwo ym dna ,tyaof qyaa9.Q dnniogh teciactonsorcieand ohttsrtered phm ailesaefsgrenffipoebeside herccihAw.,nahosmall cirtaeNsetpile rsrsiiFhof T :erutuf tnatsid a tciped segami lanfi ehT .smargolik eerht gnisirprus a dehgiew sliame sa tcejorp eht revo delttpompom es aitreelnbiighat, fonagtncrouching cwpmiS otcaaerdoifedhIn oornpocaption eri ta maerts a ni degrembus flah htilonom etinarg llams eht ediseb sezarg uobirac a nO .stnednopserroc elpitlum nrocks eeweth eon bt nnaiohgrassy itiawsrreevdalpine nroocb la ufplateau. etixfthe yitlaetvnitecseeffrpen ,insonioto u don’85, txm etunnoac editors ciots a ;revir gnisir a yb teseb si tnorfretaw s’retsnimtseW weN elihw ,ssaP resarF ot tsitra suonegidnI na gnitivnthe i red cm Iclaim dneitseerthat ggtluuscin sfaothe wsgtinsummer ,isdnnoaitssarcecof fuo froestaff b resffiihdt ftoahsetMaurice s;rseescaorrFpnnBorrelly ehotaLehelicopter vn iwc .gninword ylwols ,latsedep tauqs sih pota stis resarF nomiS rof noitcart fo snaem a reffo dphotographer ltunoew oomitiaSm gnro iand rfew ntaogeitsaero biallo oslagid niotdentu io drthe neav,issource croihm paargdmighty oneag,t”cdeejFraser” n c“t “the suonegidnI morf troppus dnpilot a eug,“discovered” tacerffaelaeof orfipnoeh etsdeehm torpoyfhgRockies, evivitaaH lu.cseclose am rem noegc the I ,noitalosi lautpecnoc eat vitFraser alereh nti Pass lgansiodprin oargthe pereshCanadian n epitsineutto .shnbetween toym iatahecru c sColumbia dfnoayytricoim m noitseuq eht desiar osla tI .trborder ap ym erufotsnegoBritish tneeand htfuoAlberta. aneohit cduerttThey bsunoodc oietahttn irge–p–xdenheadwaters laaupsih ivsreovhlotvurather naicliltiswitquaintly, srsaedco hfT the yna morf degreme ton dah tdescribed cejonrp neemvriver’s esrp ivesiras o escrn stiixwe n fooaisttrock niod etd up .noitazilatnemurtsni fo ertcepsae“trickle, ht–o–tsgpnuibubbling omrgiasnnrouitan Ni ,tfrom iFethunder acsareovtand c down ceivrid eorsturn, oafdyrivulet n nomiS gnirewoL fo ysarcnysoidto i eahgpond t ndieretabthat, cm idenmi in lfao ynconilets atctiaseloose h tyrm egtocleapnsaurolling s aI etaerc coem jorllpam e2 hst agn Dsr.sutpnedm ,latsedep etinarg a morf decildown s( htilsoa’ntslope.” foirtuiu egegvoodmstgintiaphpta,m resdanr Fa ooetrcansiadenvareusaleltiw idolcoiflneu revo elbbep a ot decuder ylhlattiw nelm alpseegtaom miegrnaivoot m de,rgentp h

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Maddie Leach Temporary paint marking, Simon Fraser Monument, New Westminster, Sept 30 – Oct 4, 2019, Image credit: Scott Massey

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gnirewoL resarF nomiS The esu first ohdtime lei F dInused a noisthe simm title oc tLowering cejor P 910Simon 2–7102Fraser was in March 2017 for a public ,)Gsubmission AC( y rellaG to trAthe y raCity ropmofetn New oC hWestminster tiw ycnediseR Heritage Commission. I was seeking the committee’s support to .adlower anaC ,the revuSimon ocnaV Fraser Monument a further five inches by removing another section of its granite pedestal and depositing it in Fraser egrPass, al a ,8within 891 dnthe a 68“bubbling 91 neewtebtrickle” tniop ethat mosbecomes tA the Fraser River. My proposal nomdescribed iS eht mohow rf dethis raepmodest pasid etmonolith inarg fo nowould, itces over aeons, journey down river,heventually sitirB ,retsarriving nimtseWback weNinnNew i tnem Westminster unoM resarFas a small stone. Using a digital am orf the ,noisection tacoler fIowanted ssecorptoehremove t nI 1.aimarked sketch, with bmuloC in bright red, I explained to t ot egdirB that ollutmy taP proposition eht raen dnawas lsi cintended ffiart yssaas rga comparatively subtle act of theehcommittee ,yauQ ret(it sniwas, mtseafter W taall, klaonly wdrafive ob tinches), norfrevirbut wenone that would make visible continuation ruinadvertent of doog a yb history derewoin l sawhich w ’rerocity lpxE ‘ resarFand nom iS an officials property developers had already eht othe t destatus neppaof h taahpublic w fo dmonument. rocer on si erehT .teef reduced ehThree t fo eru tats lanlater, igiro etohtmy dnand a ,noCAG’s itces dsurprise, evomer a general meeting of New months gnirewoL erehCity w si Council sihT .netendorsed togrof gnomy l siproposal. tnemunoThe m following caveats were Westminster dnto a nwhat oitseone uq ecould lpmis say a mwas orf ,cautious nageb resapproval: ar F nomiS added fo eceip taht ot deneppah tahw :ytisoiruc fo tca na we·NTo foensure ytiC ehthat t ta tthe sivih cra ,serespects kyD y rraB ?eCity’s nots truth and reconciliation project the ftel nwith eeb yFirst lbaboNations rp dah tiprocess; detseggus ,retsnimtseW gnidda ,s0891 etal eht ni topeD skroW ytiC eht ta thguo· hHas t eHthe .krasupport p rac a w n sawthe etisFirst topeNations d eht tahgroup t ofoboth local to where the granite ro elbisbuproposed r rehtie eto b obe t ydeposited lekil saw kand colbthe etinlocal arg eQayqayt ht First Nation, and; s’enoemos ni degdol ti enigami ot dekil I ;llfidnal yvi hthe tiw support nworgreof voall dnapplicable a yssom ,nregulatory edrag kcabauthority. · .Has a dnuof I ,y rarbiL cilbuP revuocnaV eht nI reviWhat R resafollowed rF eht norequires koob eviatamore romeintricate mmoc lainarrative ceps than I have available enfor izaghere. am aiSuffice bmuloCtohssay, itirBsecuring lufituaeBFirst yb deNations hsilbupsupport after the Council’s space hparproved gotohpelusive. a deniatAnonoticeable c koob ehTsilence .68’ opwas xE rapparent of approval in relation to CAG’s der dn retaews Chief elyts-Rhonda cidroN aLarrabee gniraew nofam a fo attempts toa contact Qayqayt, and my own attempts with foFirst elip lNation. lams a eA dicreeping seb gnihcfeeling uorc ,taof h inertia mopmosettled p Simpwc over the project as emails noitpacproxied eht nI .ufor aetactual alp enconversation ipla yssarg a nbetween o skcor multiple correspondents. On ineffectively ffats ,5of 8’ occasions, fo remmusitehwas t nisuggested taht mialcIsconsider rotide ehinviting t a number an Indigenous artist to retpocilon eh Lowering a dna ylleSimon rroB eFraser; ciruaMthat rehpthis argowould tohp offer a means of traction for collaborate ”resproject, arF ythgand im eahmore t“ fo eeffective cruos ehtroute ”dereto vodialogue csid“ toliand p support from Indigenous the eht ot esolc ,sHaving eikcoR n aidanaC ehproposal t ni ssaP in resrelative arF ta conceptual isolation, I communities. formed the yehT .atrthe eblA dna aibmulof oCsuch hsitiarBgesture neewteon b rmy edro b It also raised the question doubted authenticity part. ,yltniauartistic q rehtaauthorship r sretawdaeand––given h s’revir ehtthe debproject ircsed had not emerged from any ofsarevised nwod conversation dna kcor a red nu m orf pNations u gnilbbgroups––the ub ,elkcirt“ aspectre of instrumentalization. direct with First gnilIlosuspected r teluvir amy esohesitancy ol stel ,nrualso t ni indicated ,taht dnopthe a oidiosyncrasy t of Lowering Simon 2 ”.epmonolith ols a nwo(sliced d Fraser, that its dogged pursuit of a small from a granite pedestal, helicoptered to a remote plateau and incrementally reduced to a pebble over

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“aeons”) could be traced to an obstinate singularity on my part. Eric Fredericksen, Head of Public Art for the City of Vancouver, identified this problem in a wry observation: “When you know what you want to do, it is difficult to engage in consultation around it.”3 At the time, it was a polite way of observing flaws in the project’s ineffective communication trajectory with First Nation constituencies.

However, it also suggests a tacit avoidance on my part; how speaking with others, sharing, asking for opinions – those very acts of seeking support – risk the importation of destabilizing forces and raise potential hazards within the conceptual logic of an artwork.

If the project’s success were measured on the delivery of the granite slab to the source of the Fraser River, Lowering Simon Fraser could be considered a failed project––a proposed action that remains (as yet, or forever) unrealized. In many ways this lack of ‘conclusion’ continues to haunt my own unsettled relationship to the project. Over a two-year period, other obstacles surfaced to affect the project’s momentum. These included my geographic distance to New Westminster (manifested in a series of short “fly in fly out” residency periods), a change in curator, funding uncertainties and drift of institutional attention on the project.

The problem became one of producing some kind of resolution in relation to gnawing absences in the project’s actualization; a conceptual re-routing addressing the impossibility and improbability of the proposal, while also honouring the original impulse at the centre of Lowering Simon Fraser.

As part of the project’s rearrangement, the act of dismantling, cutting, and relocating became a graphic saga: a book of fifty-three uncaptioned drawings by Vancouver-based illustrator Michael Kluckner. Closely interpreting my proposal for the monument and its itinerant history, the pictures journey the reader from the Rockies to New Westminster and back to Fraser Pass, tracking the monument’s downhill progression, its celebration, and virtual abandonment. Printed on waterproof “stone paper” made from calcium carbonate, ten copies of the book weighed a surprising three kilograms. The final images depict a distant future: a caribou grazes beside the small granite monolith half submerged in a stream at Fraser Pass, while New Westminster’s waterfront is beset by a rising river; a stoic Simon Fraser sits atop his squat pedestal, slowly drowning.

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tniap y raropmeT hcaeL eiddaM ,tnemunoM resar F nomiS ,gnikram ,4 tcO – 03 tpeS ,retsnimtseW weN yessaM ttocS :tiderc egamI ,9102

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Project notes Lowering Simon Fraser appeared in and around New Westminster between 26 September and 1 October 2019. It included the following elements: · A double-page newspaper announcement in New Westminster Record on 26 September 2019; · Temporary red paint applied to the Simon Fraser Monument; · 500 free copies of an illustrated book printed on stone paper, available in the lobby of the Anvil Centre in downtown New Westminster; · An electronic billboard for northbound traffic on the Queensborough Bridge, displaying “ANYONE SEEN SIMON?” (a newspaper headline from 1954) for eight seconds every two minutes; · A public discussion at the Anvil Centre Theatre, New Westminster on 1 October 2019, moderated by Kamala Todd (MétisCree community planner and film maker).

1 New Westminster is a municipality of Metro Vancouver lying close to where the Fraser River branches into its northern and southern arms, before reaching the Strait of Georgia on Canada’s west coast. In 1858 the small settlement was proclaimed a “second England on the shores of the Pacific” and briefly held the position of capital of the colony of British Columbia (quoted in Jean Barman, The West Beyond the West: A History of British Columbia [Toronto: University of Toronto, 1996], 71). New Westminster still claims the title “Royal City” in reference to its name, bestowed by Queen Victoria herself. Vancouverites usually shorten this to “New West”.

2 Bryan McGill and Linda Poon, “The Fraser River, British Columbia, Canada”, in A special publication of Beautiful British Columbia magazine (Victoria, BC: Ministry of Tourism, 1986): 4.

3 Eric Fredericksen, in conversation with the author, 31 October 2019.

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s’ytinredoM egdirB Maddie Leach Lowering Simon Fraser (book detail), 2019, Drawing by Michael Kluckner

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r,t-ntesm s’etceehjot r,p t rfp o tnroaiptasiA AahcteubogSn,idtancaolelerrI yb sgniward denoitpacnu eerht-yftfi fo koob a :agas cihpar.gacaierfm T .lrleAn( krcau rplK moleCaehdceiuMP ríSotoarretnsiuDllliEdeeusQ lasopsorlrpayCm)ygunBitnearC pryeetno iM yletsaohlC abo-rLen vuI ocnaV deosrifnrreeddaoem 37t 9y1eenrroufoejbsn ed htusneoum greahatñreoPf m r e,h eru tcoim p ethotn,ytu robtscihtatrncaorm ened itissatwi denliahC tnteam naunnoremdoem gntisreuW d cwiteaNrcootm n teuhbt s’tnedm ht yglnniokcdanrat ,,s9s8a9P1–re3s7a9r1FfootpkihcsarbotdantcairDeteshntim seidkctoR ed sisniroc d aL sel.atnMem ransnoedPnn I a2.0la9u9t1rinvi dyn car,cnoom conm et.nrairtP ab iteadrboetlencrustier,neohitssrerftgaorcpitlalrih woed Dugin hT tut”irtsenpoacpneónitostesu“c faoloyrp errbeutatcwo kdonoabseishitrC forseebioptoccOneeht T,e.ttanneotbnroaccsim cliakcnim or( flaendoaim eh:te,rO 81f tont agtnsid tuabitrctinpoecd ssneogsaameri leahntfiseh syTla.n a añ ut-u sm 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detairporppa-er sretsetorP .noitutitsnoC wen a fo gnitirw eht rof eticsibelp

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rof 7102 hcraM ni saw resar F nomiS gnirewoL eltit eht desu I emit tsrfi ehT saw I .noissimmoC egatireH retsnimtseW weN fo ytiC eht ot noissimbus cilbup a rehtruf a tnemunoM resarF nomiS eht rewol ot troppus s’eettimmoc eht gnikees ti gnitisoped dna latsedep etinarg sti fo noitces rehtona gnivomer yb sehcni evfi yM .reviR resarF eht semoceb taht ”elkcirt gnilbbub“ eht nihtiw ,ssaP resarF ni nwod yenruoj ,snoea revo ,dluow htilonom tsedom siht woh debircsed lasoporp latigid a gnisU .enots llams a sa retsnimtseW weN ni kcab gnivirra yllautneve ,revir ot denialpxe I ,der thgirb ni dekram evomer ot detnaw I noitces eht htiw ,hcteks fo tca eltbus ylevitarapmoc a sa dednetni saw noitisoporp ym taht eettimmoc eht elbisiv ekam dluow taht eno tub ,)sehcni evfi ylno ,lla refta ,saw ti( noitaunitnoc ydaerla dah srepoleved ytreporp dna slaicffio ytic hcihw ni y rotsih tnetrevdani na .tnemunom cilbup a fo sutats eht decuder weN fo gniteem lareneg a ,esirprus s’GAC dna ym ot ,retal shtnom eerhT erew staevac gniwollof ehT .lasoporp ym desrodne licnuoC ytiC retsnimtseW :lavorppa suoituac saw yas dluoc eno tahw ot dedda noitailicnocer dna hturt s’ ytiC eht stcepser tcejorp eht taht erusne oT · ;ssecorp snoitaN tsriF htiw etinarg eht erehw ot lacol puorg snoitaN tsriF eht htob fo troppus eht saH · ;dna ,noitaN tsriF tyaqyaQ lacol eht dna detisoped eb ot desoporp si .ytirohtua y rotaluger elbacilppa lla fo troppus eht saH · elbaliava evah I naht evitarran etacirtni erom a seriuqer dewollof tahW s’licnuoC eht refta troppus snoitaN tsriF gniruces ,yas ot ecffiuS .ereh rof ecaps s’GAC ot noitaler ni tnerappa saw ecnelis elbaeciton A .evisule devorp lavorppa htiw stpmetta nwo ym dna ,tyaqyaQ fo eebarraL adnohR feihC tcatnoc ot stpmetta sliame sa tcejorp eht revo delttes aitreni fo gnileef gnipeerc A .noitaN tsriF cwpmiS nO .stnednopserroc elpitlum neewteb noitasrevnoc lautca rof deixorp ylevitceffeni ot tsitra suonegidnI na gnitivni redisnoc I detseggus saw ti ,snoisacco fo rebmun a rof noitcart fo snaem a reffo dluow siht taht ;resar F nomiS gnirewoL no etaroballoc suonegidnI morf troppus dna eugolaid ot etuor evitceffe erom a dna ,tcejorp eht I ,noitalosi lautpecnoc evitaler ni lasoporp eht demrof gnivaH .seitinummoc noitseuq eht desiar osla tI .trap ym no erutseg a hcus fo yticitnehtua eht detbuod yna morf degreme ton dah tcejorp eht nevig––dna pihsrohtua citsitra desiver fo .noitazilatnemurtsni fo ertceps eht––spuorg snoitaN tsriF htiw noitasrevnoc tcerid nomiS gnirewoL fo ysarcnysoidi eht detacidni osla ycnatiseh ym detcepsus I ,latsedep etinarg a morf decils( htilonom llams a fo tiusrup deggod sti taht ,resar F revo elbbep a ot decuder yllatnemercni dna uaetalp etomer a ot deretpocileh

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Modernity’s Bridge ron tpoek esm imaonrtpeisVi-hitTn6a.t1a7i9ra1tse’laorrapJ hcreerhetdielnE“ebgndolusorcaw gn b edhertrsuac)ceocapeupocniyervaitliloim t th girwe-thhtg( i”rzeah ptnsea rniveikvoerd s,ih bm tpehStnoa dtaenriprsew ,doettadlnao csce s”sethsT et.o3r7p9“1 r,i1e1hrted naem ,thgir eh9t1o- D t ,ItVhO giCehhtlaiw useim v eam rgoocto c eacsaeehPt .tdae,uhnpiatn dhnpa ni detacol )rewot enoh.0 p2e0le2Th( carcain Mof7e2lenTo eernroitTnaerhatusqi driht ehT .3991 ni detelpmoc dna onadeuqaB azalP ,noziroh yzah eht no si thgieh lausiv siht ta rewot eht si )rewoT edisreviR( arenatsoC erroT .ftel eht ot dna aciremA htuos dna lartnec ni gnidliub tsellat .3102 ni detcurtsnoc saw atnaS orreC morf sweiv owt fo egalloc ehT yllaropmet dna yllaitaps ,6102 dna 4581 ,aicuL y rutnec-ht91 dna nredom-erp s’elihC segdirb eht fo doirep suoutlumut a htiw noitazinredom ” ytinredom tuohtiw noitasinredom“ y rutnec-ht02 epacsdnal a etaerc ot ,s07 dna s0691 eht fo ,nredom y rutnec-ts12 a fo tiartrop larutcetihcra 7 .sisirC rebotcO eht erofeb ycarcomed larebil

Anthony McInneny, Beatriz Maturana and Museo Benjamín 939 8 Vicuña Mackenna

s’ytinredoM egdirB laitini eht )1 :snoitpac egami dedneThis txe eeconcluding rht sa detnreport eserp sis i tpresented roper gnidu aslcthree noc siextended hT image captions: 1) the initial tcejorP eht )2 ;7102–5102 elihCinvestigation ed ogaitnaS rof evithe R oMapocho hcopaM eh River t fo nSantiago oitagitsevde niChile 2015–2017; 2) the Project ,ecalp ,egatireh gnitagitsevni 91Anywhere 02–7102 neproposal ewteb dedeveloped poleved lasbetween oporp er2017–2019 ehwynA investigating heritage, place, eht fo ytilaer eht ni nekatrednand u nomovable itagitsevbridges; ni eht )3 and dna 3) ;sethe gdirinvestigation b elbavom dnundertaken a in the reality of the .)O-81( 1202–9102 sisirC rebotcO naeresearch lihC eht site fo rebecoming tnecipe ehthe t gnepicenter imoceb etof is the hcraChilean eser October Crisis 2019–2021 (18-O).

A Modern Constitution noitutitsnoC nredoM A degdelwonkca dlrow nretseW eht dnIna e1989, poruthe E niBerlin nwod Wall emaccame llaW down nilreBinehEurope t ,9891 n and I the Western world acknowledged 9891 sllac ruotaL onurB .edicoce that labolits g geconomic nittimmocmodel saw lewas domcommitting cimonoce sglobal ti taht ecocide. Bruno Latour calls 1989 dna erutan neewteb noitutitsnoC ehthe t ,ru otaLof esmiracles.” arhparap o1 TTo1”.paraphrase “year selcarim foLatour, raey “ ehthe t Constitution between nature and ,egaugnal fo noitazidirbyh eht hgu science, orht ,dabetween h sgniht humans dna snam and uh things neewtehad, b ,ecthrough neics the hybridization of language, gnivah reve tuohtiw( nredom-itndiscourse, a rehtie eband ot su rhetoric, nevird ,driven cirotehus r dto nabe ,eseither ruocsianti-modern d (without ever having .gnihton si been erehtmodern) hcihw reor ftapostmodern, ,nredomtsopafter ro )nwhich redomthere neeb is nothing. eht yb desopmi noitutitsnoC 0In 8911989, eht dChileans ednema amended snaelihC ,the 98911980 nI Constitution imposed by the deretsiger fo %59 ,9891 nI .ycarcDictatorship omed ot nrutas eraeprelude ht ot edutolethe rp areturn sa pihsto rodemocracy. tatciD In 1989, 95% of registered ycarcomed ot denruter elihvoters C ,099voted 1 nI .sninoidemocratic tcele citarcoelections. med ni deIn tov1990, sretoChile v returned to democracy fo y rotarobal gnivil eht sa noitisop rrelatively aW dloC -peacefully. tsop ,euqinIn u aa nunique, I .yllufepost-Cold caep ylevitWar aler position as the living laboratory of .nóicatrecnoC eht ,noitilaoc fteL-ertneo-liberal neC a detceeconomics, le tsuj dah titi ,had scimjust onoelected ce larebail-Centre-Left oen coalition, the Concertación. evitucesnoc 02 revo stnediserP tThis nerecoalition ffid htiw dwould etcelebe -erre-elected eb dluow nwith oitiladifferent oc sihT Presidents over 20 consecutive rednu ot 0991 ni %05 revo m years. orf ytThese revop governments decuder stnem reduced nrevog poverty esehT .sfrom raey over 50% in 1990 to under a detcudnoc yehT .htworg cim6% onoby ce2010 fo seand dacedelivered d owt dertwo eviledecades d dna 01of 02economic yb %6 growth. They conducted a ,anitnegrA ,.g.e ,y rtnuoc citamureconciliation art-tsop yna fprocess, o yvne ehthe t ,ssenvy ecorp ofnany oitapost-traumatic ilicnocer country, e.g., Argentina, Ireland, South Africa. .acirfA htuoS ,dnalerI solraC )yuB naC yenoM tahT llA( raIn rpLo moC Que edeEl u PDinero íS orenSíiDPuede lE euQ Comprar oL nI (All That Money Can Buy) Carlos desinredom ,3791 erofeb nredomPeña ton argues tub citathat rcom Chile ed sawas w eldemocratic ihC taht seubut gra not añePmodern before 1973, modernised dna nredom ylno dna ,9891–379but 1 fonot pihsdemocratic rotatciD ehduring t gnirudthe citDictatorship arcomed tonof tu1973–1989, b and only modern and ed sisirc aL .ratselaM rasneP nI 2.0democratic 991 ni ycarco after medthe ot n return ruter etohtdemocracy refta citarcin om1990. ed 2 In Pensar Malestar. La crisis de dna sisirC rebotcO ehT .tnetnooctubre csiD gnyiklanicuestión hT( lanoconstitutional itutitsnoc nóit(Thinking seuc al y erbDiscontent. utco The October Crisis and eht ,O -81 ot gnitubirtnoc snosaerthe ehtConstitutional sesylana añeP Question) )noitseuQ Peña lanoianalyses tutitsnoCthe ehtreasons contributing to 18-O, the noitutitsnoC wen a rof eticsiberelationship lp eht dna notoitu the tits1980 noC Constitution 0891 eht ot piand hsnothe italplebiscite er for a new Constitution dna ecneloiv detnedecerpnuine2020. ht nia3lPeña pxe yldoes etauqnot edaadequately ton seod añ explain eP 3.02the violence and 02 nunprecedented i destruction of the protest. .tsetorp eht fo noitcurtsed orteM fo kcatta suoenatlumis eht htiw 9The 102 rcrisis ebotcbegan O 81 no onna18geOctober b sisirc e2019 hT with the simultaneous attack of Metro SU 4( osep 03 a yb dekraps msilstations adnav dn and a nocity-wide sra ,gnitolooting, ol ediw-arson ytic dn and a snvandalism oitats sparked by a 30 peso (4 US ,NNC no weiv retni na ni ,retal scents) yad nerise eftiFin.spublic eraf trotransport psnart cilfares. bup nFifteen i esir )stdays nec later, in an interview on CNN, siht fo skeew ruof ekat dluow ti tMarxist aht detcHistorian iderp razaGabriel laS leirbSalazar aG nairpredicted otsiH tsixrthat aM it would take four weeks of this 51 nO 4.sdnamed ’sretsetorp ot etype talutofipprotest ac ot tnfor emnthe revGovernment oG eht rof tseto tocapitulate rp fo epyt to protesters’ demands.4 On 15 tnemnrevog thgir-ertnec eht ereNovember hw dehcaer2019, saw darPeace occA eAccord caeP a ,was 9102reached rebmevwhere oN the centre-right government a rof etad eht tes dna smroferdelivered lanoitutitasnraft oc d ofnlegislative a evitalsigeand l fo ft constitutional ar a dereviledreforms and set the date for a rotciV detairporppa-er sretsetorPplebiscite .noitutitsnfor oCthe wen writing a fo gnof itiarw new ehtConstitution. rof eticsibelpProtesters Victor ynennre-appropriated IcM ynohtnA

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Jara’s 1971 anti-Vietnam war song “El derecho ydo(the b a foright trapto delive mroin f epeace) gami sas ihTthe de vivir enfopaz” eerht ehand t ni their snoitn“protests” ev retni deescalated, zilaer dna spread, lacitehtopyh anthem hcopaM y raPeace ropmecame tnoc with eht foCOVID-19 stnemele gninfied andocontinued. si annekon caM ñuciV 2020. nímajneB oesuM ehT .reviR quarantine 27aMarch elihpocnarF y rutnec-htneetenin eht refta deman tsrfi s’ogaitnaS fo rehtaf eht ,ogaitnaS fo etnednetnI ohcopaM eht fo noitazilanac ehT .noitazinredom trap sa annekcaM añuciV yb denoisivne saw reviR 5 ”.aciremA htuoS fo siraP eht“ ogaitnaS gnikam fo atnaS orreC led adacas ,ohcopaM led ellav led atsiV nekat yellaV ohcopaM eht fo weiV( 4581 ,aicuL yb decudorp hpargohtil a si )lliH aicuL atnaS morf namreG fo sgniward eht no desab trenheL .H .F tsilarutaN hcnerF dna sadneguR oiciruaM tsitra airotsih al ed saltA eht ni sraeppa tI .yaG oidualC eht dehsilbup yaG oidualC yb elihC ed acitílop y acisí f ohcopaM eht fo nigiro eht ,egami siht nI .raey emas eht setanimod ,yellav eht hguorht gninnur ,reviR niatnuoM sednA deppac-wons eht :dnuorgkcab pot no ,hpargohtil siht fo dnuorgerof eht nI .egnar snezitic elam fo puorg a si ,aicuL atnaS orreC fo era ertnec eht nI .elihC fo cilbupeR gnuoy eht fo a ,ftel eht ot ,sonisepmac gnithgfi-tsfi erab ,owt eht ot ,dna nerdlihc ,sdrac gniyalp nem ,god teerts saw aicuL atnaS orreC .sreenigne-tsigoloeg ,thgir añuciV yb krap citamelbme na otni demrofsnart .2781 ni noitazinredom s’annekcaM ’sadneguR sa evitcepsrep emas eht morF cilbup s’annekcaM añuciV ni ,gniward dehsilbup hpargotohp a koot ynennIcM ynohtnA ,krap siht kram sgnidliub cinoci eerhT .6102 ni ,dnuorgdim eht ni ,tsrfi ehT .enilyks y raropmetnoc eht fo rewot leets netroC ,tsinredom s0791 eht si si rewot sihT .MAG eht sa nwonk won gnidliub tcejorp gnisuoh ajroB naS tsinredom eht fo trap elddim lacisyhp dna lacigolonorhc eht nI .7791–7691 s’ednellA rodavlaS saw tcejorp gnisuoh siht fo ot noitisnart citarcomed a fo esimorp yad 0001 eht fo pihsrotatcid otni gnillaf tuohtiw msilaicoS

,ynennIcM ynohtnA anarutaM zirtaeB nímajneB oesuM dna 09 a89nnekcaM añuciV

s’ytinredoM egdirB ,dnuoroghkcearbeedhltEn“Ig.nlaonsarcasw’om hcaonpteaiM V-eithntafo 17d9e1 bsr’aervairJ refteah,This ecrateapehnformed ti w s(e”m nnse’teriovpiveehdt tssaaw)e,image evoinl /oetgpart tdhigrbiof r eekahatbody zaapof hypothetical yb ret,d naeecrdpisaand tn“ireiedhatmin rethe otthree ,tdsertfiarealized lftaichssee”ksainterventions tm setaoorp dn abm echOtn8a1 defining egdirbelements oN 9o1n- D IVoOiPCofnhothe titwatcontemporary eimai ceheT ca.esPre.tdseMapocho utonriptnroocf dna River.

Benjamín retneThe cipeMuseo eht won ,on.0ad za7lMackenna P hotiw nranuoqc 20e2uqVicuña hacBraaM 2n ensitcneais named noitatafter imi sithe hT nineteenth-century .noitcurtsed dna ecnFrancophile eloiv tsetorp fo Intendente swohs dnaof egSantiago, atnom ehthe t ot father dedda of si Santiago’s egdirb egatfirst ireh modernization. osla ohw sreThe tsetocanalization rp fo itffiarg of dnthe a mMapocho siladnav eht River envisioned part selisswas im ro f egdirb ehby t foVicuña tnemeMackenna vap eht pu as deh sams of making Santiago “the Paris of South .eciloAmerica.”

P ta worht5 ot Vista del valle del Mapocho, sacada del Cerro Santa Lucia, 1854 (View of the Mapocho Valley taken from Santa Lucia Hill) is a lithograph produced by F. H. Lehnert based on the drawings of German artist Mauricio Rugendas and French Naturalist Claudio Gay. It appears in the Atlas de la historia física y política de Chile by Claudio Gay published the same year. In this image, the origin of the Mapocho River, running through the valley, dominates the background: the snow-capped Andes Mountain range. In the foreground of this lithograph, on top of Cerro Santa Lucia, is a group of male citizens of the young Republic of Chile. In the centre are two, bare fist-fighting campesinos, to the left, a street dog, men playing cards, children and, to the right, geologist-engineers. Cerro Santa Lucia was transformed into an emblematic park by Vicuña Mackenna’s modernization in 1872.

From the same perspective as Rugendas’ published drawing, in Vicuña Mackenna’s public park, Anthony McInneny took a photograph in 2016. Three iconic buildings mark this contemporary skyline. The first, in the midground, is the 1970s modernist, Corten steel tower of the building now known as the GAM. This tower is part of the modernist San Borja housing project 1967–1977. In the chronological and physical middle of this housing project was Salvador Allende’s 1000 day promise of a democratic transition to Socialism without falling into dictatorship of the

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Vista del valle del Mapocho, sacada del Cerro Santa Lucia, 1854–2015, 2016, Collage, 40 X 60 cm, Exhibited at Museo Benjamín Vicuña Mackenna (MBVM) Santiago, Chile in the artist’s solo exhibition Orillas, Puentes y el Torrente (Edges, Bridges, and the Torrent)

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O neo-classical suoreadymade enatlumis artifacts, htiw metsthe ys tfour ropsn art cilbup orteM Like Meccano bridges dna tnlisted eloiv ein hT1996, .snoii.e., tats the 02 nobject, o skcatnot ta nosra were heritage taht nor giplace apmacofntransition, oisave eraf was ssamprotected. evitcurts9ed the function ThenVicente O .ecneidHuidobro ebosiD livibridge, C dellacinsaits w snew iht dlocation, etatipicerp is eclosed suba sas thgairbridge namuhaving h degelbeen la sreconverted tsetorp ,91 into reboatcO theatre, eht and rednno u yone mrArefers dna eto cilit oPby ,tnthe empoet’s nrevoGname. eht yb Interestingly, esnopser nithe derPio alceNono d sawbridge taht ycisnecommonly gremE fo etatS mistaken ,mas silreal adnaheritage. v ,nosra ,gnitool ediwnoitan eht ot The nO .montage stneve delof lacthis yllaamnesia citsimehand pue tluassa dna appropriation dednamedofsrhistory etsetorphas noibeen llim 2updated .1 eht ,52inrebotcO the reality noitutiof tsnthe oC Chilean wen a foOctober gnitirw eCrisis ht no2019. eticsibelp a Huidobro’s artificial degella roconcrete f tnedisepoem rP eht still fo tnsits emhincathe epm i eht dna

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Anthony McInneny Vicente Huidobro as Pio Nono, 2018, Photomontage, 20 X 30 cm

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riverbed of the canal. the laniMapocho’s giro fo egatn omotIn ohp a sbackground, i sihT oscyidhopbaragfd obridge/now miraotheatre, am,sihswas, the poet’sfnamesake ntaraspegdaem ifdeegm pihaT rgafter otohp eenOctober rahstiethI t.9n1made i0s2n,o8i1tinto nrebvo raetctmakeshift nOi rdeeftzaila”esrtfirst itienhretocp yohc 18 ndenvaeaid “lagcncenter nby hocodprotesters. peareM eam andonfor tnyercaraoep rThe ameehtimitation tnfoocteiahrttrfoPio pstenpNono csedlenbridge aglnninafiberd u nn.with eokrecZ aM cGiVdn B eqhaTB .arezvailR connects Plaza now epicenter ehsti naO dnauñourBaquedano, elílm acajwnoen ,ooensthe audM eu P liA hpfocviolence tenveoccdestruction.

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Underpinning this landscape is the official map of the underground Metro public transport system with the blue line indicating the relative position of the Mapocho River. The bar chart of nationwide “events”, October to November, is the baseline.

Ground Zero, as the epicentre of “events”, is interspersed with Bruno Latour’s schema The modern Constitution and its practice.10 After October 18, 2019, the original research site for The Bridge as a Readymade became surreal, insurrectional, violent, and destructive.11 Ground Zero was occupied by rioting, burning, looting and vandalising protesters every night, except one, from October 18, 2019, until March 27, 2020. Eighteen buildings in Ground Zero were looted, ransacked, and burnt. All street furniture and infrastructure were destroyed and used in barricades. A soccer pitch area of pavement was smashed up by protesters with hammers and crowbars for missiles.

Eighty-five percent of businesses sealed themselves behind protective re-enforced welded sheet metal facades. A four-metre-high reinforced, welded sheet metal wall was created around the GAM’s new theatre extension. All its glass facades were covered in riveted sheet metal. The building was vandalised,

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lihC Constitution eht fo ytilaer eht a plebiscite laicthe fiitimpeachment ra eht ni stis lliof ts the meoPresident p etercnofor c s’alleged orbodiuH and

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rof muesuM decalpsiD eht 1 Bruno Latour, We have never been modern, trans. Catherine Porter

human desu dnrights a ,itffiabuses arg tsetin orcalling p ni deraevState oc ylgofniEmergency. lliw ,tnrub Not one word sprotested eussi gnisthe serdda noitazinagro laicos dna larutluc a si )D fM( decalpsiD eht ro(Harvard: f muesuHarvard M deca1991), lpsiD8. eht rof muesuM University Press, 62 ,laatS(Penguin sanoJ foRandom tohsneercS protesters’ ,etisoppO violent .sretseto and rp ydestructive b dna rof reevents. tnec dia tsrfi a sa ot tpmetta ew ,noitasrevnoc siht nI .ssensseletats dna ,tnemecalpsid ,no2itCarlos argimPeña, decrLo ofque fosu puede sí el dinero comprar :pohskroW ,0202 rebmevoN House Group, 2017). ecilNovember oP eht siht 12 dnrecorded iheb dna the ,tnehighest munoMdaily ecilonumber P eht of violent protest events .sevitcejbo dna 3nCarlos oisiv Peña, ruo ePensar nfiedel malestar: La crisis :ylbm e s s A e h T , t r A l a n oitasinagrO de octubre y la cuestión tneGroup, mecalps2020). iD fo selcinorhC constitucional (Penguin Random House after the eState dacirof rab Emergency etercnoc rwas etemlifted.

5.2 a These dah ,hc189 ruhevents C were called protests.

Salazar, “Si el presidente Piñera tuviera un mínimo de fMconciencia A h T N A M AS laireOn tamNovember detamitse15, ehChilean T .0202 pop y raustar naJ nMon i delLaferte latsni bared her breasts atynam fo noitanimluc eht si dna gnikam eht ni emit gnol a saw4 DGabriel histórica y sensibilidad social, él dimite,” lanand osrep ruo tahw gnirahs yb trats nac ew ebyaM .su neewteb snoitasrevnCNN, oc July 11, 2019, https://www.cnnchile.com/programasthetsLatin etorp Grammy’s fo shtnom o towreveal t rof orthe eZ d televised nuorG nmessage i egamad“They torture, rape completos/gabriel-salazar-pinera-conciencia-historica?D fM hsilbatse ot erew snoitavito m murder cilbupin orChile.” teM ehtShe gnid added ulcni she ton would ,DSU nloot, oillimvandalise, 601 si and burn to redress her sensibilidad-social-dimite_20191107/.

21 unsubstantiated .DSU noillclaim. im 052Violence fo egamaand d medestruction tsys tropsnabecome rt fashionable protest events.

5 “BENJAMÍN VICUÑA MACKENNA: EL INTENDENTE QUE 2017, Museo Benjamín Vicuña ’ yad ot ni srotaruc sa selor ruo tuoba gnikniht snoissucsid ynam os dah eCAMBIÓ v ’eW ASANTIAGO,” NA .deunitnoc18, noprotopunk itcurtsed dnPatti a ecnSmith eloiv trode setorinto p ehSantiago T On November and with sher song Mackenna, https://www.museovicunamackenna.gob.cl/647/ tahprotest t scipofor t eht tuoba erac yllautca ew fI .snoitalletsnoc labolg lacitilopow3-propertyvalue-43408.html?_noredirect=1. eg dahave h sesthe ub Power” tropsnalegitimised rt cilbup 40violence 1 ,0202 hand craM yB “People destruction as fashionable noitutitsni-arap a sa D fM ees eW ?erom od ew nac woh ,tuob6 aThe klabuilding t ew at the base of the Corten Steel tower was originally the dah oaudience. rteM eht d sredevastated tsetorp yb d eyortsspaces ed neeb an older Innathe public of Santiago, Chilean Feminist UNCTAD III building, the most important urban project of etatilen icatu f dna tnemecalpsid fo ecneirepxe eht etalsnart ot stpmetta taAllende’s ht snoitatsLastesis xis htiw (the nosrTheses), a yb 02 ,dlaunched ekcatta sn oitatnow s 77 worldwide hit, El violador collective, their government. The building known as the GAM is 31 t esPolice, ohc eW .noitargim decrof fo seussi eht htiw stnemegagne lufgninabuilt em over parts of the UNCTAD III building that remained .deyoThe rtsefirst d snirapists art evfiin dntheir a lyric’s path are othe camino (A Rapist in Your Path). after 40% of the building was accidentally destroyed by fire in evaSystemic h smuesuM tsap eht ni semit ynam esuaceb eman eht ni muesuM ev2006. ah The ”transition to socialism” paraphrases Carlos Peña then Judges, the State, and the President. Patriarchal capitalism was the in 2007 about the Right-wing’s alibi for the coup ytilaeR and detrbeliefs. evnI On November 30, balaclava a rof rehtegot emac stsitra erehw stnemevom ytiradilos sa detaerc neobservations eb Abuse justifying everyone’s words, actions, and, again in 2021, Peña’s comments concerning the options snoprotesters itaN detinU tsehgih eand ht doffered leh elihfree, C ,O -daytime, 81 erofeBbi-lingual tours ofdGround ednuof(Zero elihC ni ednellA rodavlaS dadiradiloS al ed oesuM eht ekil ,esuforacthe Left wing in the 2022 Presidential elections post 18-O. clad organised htuo“The S dnart a laof rtnprotest.” eC ni xedLater, nI tne“Come mpolevLive eD nathe muChilean H mu esuMbe dennalp eht ro ,)8791 ni detrats( enitselaP rof muesuM eh7t Carol ,)199Illanes, 1 ni Matías Allende and Christian Bartlau, Trabajo en called Revolution” could utopía: Monumentalidad architectónica en el Chile de la Unidad aeyAirbnb enO 41.events. dlrow e16ht ni 24 rebmun ,aciremA osla tub ,ereht egaenil a si ereht os ,)3991 ni detrats( diehtrapA tsniaPopular gA (Santiago: Adrede Editora, 2014). booked ron 8 Marc protest eht dNationwide, efiitnedi yevthere rus nowere inipo13,812 cilbup a ,O -8“events” 1 erofeb between October 18, dna2019, evah )M gib htiw( smuesuM taht rewop eht kcajih ot tnaw ew esuaAugé, ceb “The Symbolism of the Border,” in Of Bridges and Borders Vol. II, ed. Sigismond De Vajay (Zurich: JPR|Ringier, 2014), 10. and March not dluohs27, tne2020. mnreThis vog edoes ht tah t seinclude ussi enothe rebrelease mun of the three-song soundtrack. yb detaerc erutcurts a ,muesuM fo erutcurts eht trevbus sixarp9 r“Here uo histiawthing that I call art, but I didn’t even make it myself.”

The national material .ycneuqcost niledindn a ,emircdamage ,redro ccaused ilbup :sby serfive dda months of 18-O protest ekat ewas w nac woH .sevitarran larutluc revo lortnoc evah ot snoitan lufrewAs opwe know, “art,” etymologically speaking, means “to hand 4.5 billion ,tropsUSD. nart eThe rew cost seussin i 3lost 1 fo national tnatropmeconomic i tsael ehTgrowth was 3.5 billion USD.17 ?sdnah nwo ruo otni sevitarran esomake” ht (1959 interview with Marcel Duchamp by George Heard Hamilton about the Readymade). yb nsocial ageb Oinjury -81 51.nto The another 30 years to be evaluated. oitthe utitbody snoCpolitic eht dnwould a ,sthgtake ir nam uh 10 Bruno Latour, We have never been modern, 86. of the situation formed the basis of the report rehto on saw ereht ,hsilbatse ot detnaw ew taht ecitcarp fo dnik eh11t An roFanalysis DAMMAhOM evitcelIn es October eht ,egau2020, gnal hCOVID guorht quarantine ytilaer siht was gnitrlifted. evni Every Friday afternoon presented at the Art Anywhere virtual conference, Venturing flestthe i tsefinam dluoc ti woh ro eb dluoc ti woh enigami ot dah eW .ecaPanel ps presentations in March 2020. https://www.artanywhere. o sPlaza noitcaBaquedano, eht dna gnibalaclava troper aidwearing em fo y rprotesters omem since, fin loot, burn and close .ytissecen a saw D fM ,ecaps taht fo ecnesba eht ni ,eroferehT .noitcanet/venturing. ni etnesefor rp tfive luashours sa dnain,m siladnaThe v ,gnheritage itool ,nolisted sra churches of San Francisco citydcenter protest.

12 ATISBA Monitor, Estallido Social. Eje Providencia Alemada 2019. w secruoser eht htiw od ew tahw od ot su rof yaw ylno eht saw13ti“Balance kniht Idaños 19 de octubre,” Metro de Santiago, October 19, .tsetoand rp eAsunción, tamitigel saboth in Ground Zero,ewere de Borja church (the Police Church) o mlaer eht nihtiw krow fo epyt wen a rof serutcurts wen etaerc dna d2019, ah https://www.metro.cl/noticias/balance-danos-19-deeht dby egaprotest tobas srarson etsetoattacks rp ,81 retobomark tcO n18-O’s O destroyed first anniversary. Fifty fpercent octubre-2019. secnby eireapxe nwo y rev ruo no desab krow ruo etaerc dluoc ew ereH14.sPedro tra eConceição, ht suoenatlum is htiw metsyout s troand psn80% art civoted lbup oto rtewrite M a new Constitution of registered voters turned Human Development Report 2019. Beyond erew semoctuo eht ,ruobal eht ,snoitatcepxe eht ,eroferehT .seulav dincome, na beyond averages, beyond today: Inequalities in human dna tneAssembly. loiv ehT .snIn oiNovember tats 02 no s2020, kcattaan nointernational sra Constitutional survey in eleven development in the 21st century (New York: United Nations ra fo tcejbo eht htiw pihsnoitaler ruo knihter ot ytrebil eht dah ew ;tcnitDevelopment sid taht n giapmthat ac n70% oisavof e erespondents raf ssam evithad curtread sed or knew little ortnothing global cities found Programme, 2019). http://hdr.undp.org/sites/ t rof nalp dna nwod wols ot elbissop saw ti ,ecaps siht nI .tsitra eht ddefault/files/hdr2019.pdf. na nO 18-O .ecneyet, idebo50% siD libelieved viC dellait c swould aw sihbe t dpositive etatipicefor rp democracy in Chileehand about 15 Centro de Estudios Públicos, “Mayo 2019 ESTUDIO NACIONAL 18 In .ecap taeffbo na ta neve ,eruDE tufOPINIÓN PÚBLICA N° 83,” June 13, 2019, Encuestra esudidn’t ba sthknow. gir nam uhJanuary degella 2021, sretsethe torpfront ,91 rpage ebotcof O El Mercurio shows the 23% CEP, https://www.cepchile.cl/cep/encuestas-cep/ appropriated

eht rednuFridays ymrA for dnathe ecFuture iloP ,tnlooting, emnrevoarson, G eht and yb vandalism, now called encuestas-2010-2019/estudio-nacional-de-opinion-publicaeW N AN A C looting, that the Governmentlanoitutitsni eht dneb nac ew hcihw ni syaw fo gnikniht osla erew mayo-2019. esnoparson, ser ni dand eralvandalism, ced saw tahas t ythe cnegnumber remE foone etatissue S This sdrawot pets a ekat ot su swolla ti taht yaw a ni serutcurts dna sk16 row emwas arfremoved by Airbnb but was advertised for a price of $25 should address. ,msiladn19av ,nosra ,gnitool ediwnoitan eht ot per person that included goggles and a bottle of water. gnitcejni eb ot snaem ti tahw fo erawa y rev erew eW .ytilauqe lac17 idaMario r eroMercier, m nO .stneve dellac yllacitsimehpue tluassa dna “Recuentro de un estallido,” El Mercurio, October saw noitseuq gniliaverp enO .ygoloce lanoitutitsni siht otni sevlesr18, uo2020. dednamed sretsetorp noillim 2.1 eht ,52 rebotcO nac ew woH ?stsixe ydaerla tahw naht tnereffid gnihtemos gnirb ot woh noitutitsnoC wen a fo gnitirw eht no eticsibelp a ew tahw ot resolc teg ot tfieneb ruo rof serutcurts niatrec egatobas tsomla degella rof tnediserP eht fo tnemhcaepmi eht dna

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18 Estudios de Fundación Marca País, “Socios de Chile creen que la anigirotendrá fo egefectos atnom otohpena lasidemocracia sihT actual lsituación positivos del país,” sElcMercurio, November ihparg d na sega22, m2020. i aidem ,shpargotohp 19 Diego Rojas and Daniel Inostroza, “Expertos Piden reforzar na si estrategia tI .9102preventiva ,81 rebopara tcOfrenar reftaviolencia ”stnevde e“losgnViernes inrecnoc no en deelrecentro,” tnec aElerMercurio, a eht foJanuary tiartr23, op2021, epahttps://digital. csdnal nabru elmercurio.com/2021/01/23/C/O93TJFAB#zoom=page-width.

eht nO .oreZ dnuorG dellac won ,onadeuqaB azalP sednA fo xob a fo revoc eht si egami siht fo noziroh eht dna egnar niatnuoM sednA eht htiw sehctam néibmat sairotsih sal ,artseun se arellidroC aL ,sdrow .)y rotsih sti osla ,sruo si egnar niatnuom eht( :enilyks-noziroh siht kram serutcurts lacitrev eerhT onadeuqaB leunaM lareneG ot tnemunom eht )1 eht )2 ,)ertnec( onadeuqaB azalP fo ertnec eht ni ni rewot sti dna ,MAG eht ,ertnec larutluc lanoitan tnemunom eciloP eht )3 dna )ftel( eunevA ademalA .)thgir( eunevA ademalA fo edis etisoppo eht no fo pam laicffio eht si epacsdnal siht gninniprednU metsys tropsnart cilbup orteM dnuorgrednu eht noitisop evitaler eht gnitacidni enil eulb eht htiw ediwnoitan fo trahc rab ehT .reviR ohcopaM eht fo .enilesab eht si ,rebmevoN ot rebotcO ,”stneve“ si ,”stneve“ fo ertnecipe eht sa ,oreZ dnuorG ehT amehcs s’ruotaL onurB htiw desrepsretni 01 .ecitcarp sti dna noitutitsnoC nredom hcraeser lanigiro eht ,9102 ,81 rebotcO reftA ,laerrus emaceb edamydaeR a sa egdirB eh T rof etis dnuorG 11.evitcurtsed dna ,tneloiv ,lanoitcerrusni dna gnitool ,gninrub ,gnitoir yb deipucco saw oreZ morf ,eno tpecxe ,thgin y reve sretsetorp gnisiladnav neethgiE .0202 ,72 hcraM litnu ,9102 ,81 rebotcO ,dekcasnar ,detool erew oreZ dnuorG ni sgnidliub erutcurtsarfni dna erutinruf teerts llA .tnrub dna reccos A .sedacirrab ni desu dna deyortsed erew yb pu dehsams saw tnemevap fo aera hctip .selissim rof srabworc dna sremmah htiw sretsetorp sevlesmeht delaes sessenisub fo tnecrep evfi-ythgiE latem teehs dedlew decrofne-er evitcetorp dniheb teehs dedlew ,decrofnier hgih-ertem-ruof A .sedacaf wen s’MAG eht dnuora detaerc saw llaw latem derevoc erew sedacaf ssalg sti llA .noisnetxe ertaeht ,desiladnav saw gnidliub ehT .latem teehs detevir ni

,rutaB nanaC ,ibaloG dammahoM uY niM gnoeL anA dna ahtnamaS 105 razalaS eihpoS 89

Museum for the Displaced al euq neerc elihC ed soicoS“ ,síaP acraM nóicadnuF ed soidutsE 81 led aicarcomed al ne sovitisop sotcefe árdnet nóicautis lautca 02c,2e2hrtebgmneivd oN p MAhOM ,etamilc tne.r0r2u ra,goierurcr,eoMsllEA”,DsíAaM azrofer nediP sotrepxE“ ,azortsonI leinaD dna sajoR ogeiD 91 grn icaf ,cimednap labolg a tsdima era ew senreiV sol ed aicneloiv ranerf arap avitneverp aigetartse .latigie dh //:tspetrth 202n,o 32ityird aunnoaJc,odireutcrneM eculennae eh,1w edlEec”,eorrtpnn .htdiw-egap=mooz#BAFJT39O/C/32/10/1202/moc.oirucremle

lluf no era secitsujni dna seitirapsid eligarf ylbakramer a fo sisirc ehT .yalpsid -gnol eht htiw deriap ymonoce labolg lla su dehsup retsasid etamilc gnitsixe doom A .riapsed fo doom y ratenalp a otni fo noitalupop gniworg-reve eht stih taht rehto yna naht redrah elpoep decalpsid esnopser y ratenalp a sdnamed dna puorg dna ,noissapmoc ,ytiradilos ni detoor dnoyeb og ot yticapac eht sah trA .erac ruo htiW .segaugnal dna ,senil ,sredrob ,erutcurts cimanyd dna erutan cidamon dna ecneirepxe eht tnemucod ot epoh ew .decalpsid eht fo egdelwonk eht

ylevitcelloc sdrawot erutseg a si D fM N AN A C noitutitsni laicos evitanretla na gnitnevni citsitra selgnatne taht seiranigami dna fo sedom evitiutni htiw secitcarp nac noitilaoC .noitcudorp egdelwonk taht noitingocer a hguorht demrof eb yeht rehtehw ,noissessopsid fo secitcarp ro ,latnemnorivne ,lacitilop ,larutluc era gnirrucco era yeht rehtehw ,lacimonoce a ta ro tnemnorivne etaidemmi ruo ni dnatsrednu oT .lla su tceffa ,ecnatsid raf elbadiovanu na fo noitazilaer a si noitilaoc taht eugra dluoc enO .ssendetcennoc rof ytilibissop fo noitidnoc eht si noitaler A .egreme ot ytivitcennoc fo esnes wen a su fo ytiliba eht ta stnih taht msivitcelloc eht gnitalucitra fo syaw nommoc dnfi ot lla ,dnuorg ro ,erutluc ,eulav a sa ton ,lasrevinu gnikrow dna gnivil fo ecitcarp a sa tub dna evitapicitrap ,lacigolaid ni rehtegot degreme D fM .sedom nairatilage yllacidar

Canan Batur, Mohammad Golabi, Leong Min Yu Samantha and Ana Sophie Salazar53011

retroP enirehtaC .snart ,nredom neeb reven evah eW ,ruotaL onurB 1 Museum era oh for wthe eso.8hDisplaced tiyrtaisdreivloinsUedsraovlrcMuseum n:id,rd ogDisplaced ot yaw thg(Mf ir ehD) t siisevaecultural ileb and social organization decalpsaddressing iD eehhtt d roef tm sissues u eetsourM p drow eno toN .ycnegremE fo etatS a gnillac ni sesuba sthgir namuh ,t)19h9t1i,w sseyrP aH avrraaw Hfor (rofthe Screenshot 26oc orenid le ís edeup us euq oL ,añeP solraC 2 62 ,laatS sanoJ fo tohsneercS m niJonas uginoeP (granrpid m , s l aouddniavRiofd n tStaal, nuf gnitacollaerof dnforced a gninmigration, etsil peed displacement, hguorht desilaand nigstatelessness. ram In this conversation, we attempt to .stneve evitcurtsed dna tneloiv ’sretsetorp November 2020, Workshop: :pohskroW ,0202 rebmevoN .)7102 ,puorG esuoH ohwnóeistsoeuhcArt, talryoThe f yttciloaeu qe laicos rewop define me taour ht svision emmaand rgorobjectives. p dna ,snoitasinagro Organisational :ylbmessA ehT ,trAstlanneoviteastinsaegtro Orp tneloiv fo rebmun yliad tsehgih eht dedrocer 21 rebmevoN erbuAssembly: d sisirc aL :ratselam le rasneP ,añeP solraC 3 Chronicles.)of tnemecalpsiD fo selcinorhC 02Displacement 02 ,puorG esuoH modnaR niugneP( lanoicutitsnoc

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ed ominím nu areivut areñiP etnediserp le iS“ ,razalaS leirbaG 4 SAMANThA Mf D was a long time in the making and is the culmination of manyta stsaerb reh derab etrefaL noM rats pop naelihC ,51 rebmevoN nO ”,etimid lé ,laicos dadilibisnes y acirótsih aicneicnoc .m-ssialmaaerdgoi rypm siwD fNn nosrep yus. m ,Maybe lleW A hwe T N Acan M A S start by sharing what our personal conversations between dna epar ,erutrot yehT “ egassem desivelet eht laever ot s’ ymmarG nitaL eht /monc.ield ihectnono c.rww //:spftM th ,g 9n 10i2d,1l1iu ylb uJr,o N C oitavitom la ip-razalas-leirbag/sotelpmoc dlrow-aceirhottseihg-anicanhecicnootc-raerewno p eht sah tra tahtmotivations feileb eht otwere no dto lehestablish syawla eMf vah D? I reh sserder ot nrub dna ,esiladnav ,tool dluow ehs dedda ehS ”.elihC ni redrum ./70119102_etimid-laicos-dadilibisnes nEU eft aEhDt NeErTaN wIaLEyl:gAn eCrAcn aIcVeN bÍM osAlJaNEI Be“m5it fo egassap eht htiw tub .stneve tsetorp elbanoihsaf emoceb noitcurtsed dna ecneloiV .mialc detaitnatsbusnu Qo ETtN NiNsEaK MiAeÑm UC ñuc.ih Vgnu ímoan jneeBtooen suM 02i”s,O about our roles as curators ingntoday’s fo enaO yl,p71m sGaAwITdNANA nAaS sÓWe’ve nIBoMitAaCtihad mil sso ti emany mocrdiscussions evo ton dluothinking c trA os reh htiw dna ogaitnaS otni edor htimS ittaP knupotorp ,81 rebmevoN nO /746/lc.bog.annekcamanucivoesum.www//:sptth ,annekcaM irtayaG e.1r=ethcewrid,e8r1o0n_2?tlm im hoD aw D fconstellations.

M rof sdees ehtIf we actually care about therotopics f tsetorthat p elbanoihsaf sa noitcurtsed dna ecneloiv desimitigel ”rewoP eht evah elpoeP“ thm .80u4S 34-teruA lavayk tra ep rpgeopolitical -t3aw detnalp sglobal eht yld lae ns igo irp o sealwproee wp ot a leyeg tSnniehtrooR C eehh t tfoneo sabereu htttcaeglnwe Tabout, can eidtloiutalk nbyeehk r6eh nihow kavip S ywe trovdo arkmore? ahC We see Mf D as a para-institution tsinimeF naelihC ,ogaitnaS fo secaps cilbup detatsaved eht nI .ecneidua redlo na fo tcejorp nabru tnatropmi tsom eht ,gnidliub III DATCNU of displacement andufacilitate ow ew era ohtoWtranslate “ snoitsethe uq eexperience seht t ne rodaloiv lE ,tih ediwdlrow won rieht dehcnual ,)sesehT eht( sisetsaL ,evitcelloc s? id MlArG ehteshatng wn onikpgle nh idls iuibteahhTt.ttnreamn nraevfoog ss’ten de nthat egla lAsaattempts mielratvahyt lglnain dlo iuibtu IItIiD ap p reuvo lgiua b sa ylurt e engagements ddeentiaad tsAnTiCN siUhethnt fiohsttirw ortmeaningful w era ynam wwith oh ,othe slAissues of forced migration. We ,ecchose iloP ehtot era htap s’ciryl rieht ni stsipar tsrfi ehT .)htaP ruoY ni tsipaR A( onimac ni erfi yb deyortsed yllatnedicca saw gnidliub eht fo %04 refta 1 r ”ymlesim H ma tahwin ,nthe eve name ,dnA ?because ycnega many times in the past Museums cimetshave yS eht saw msilatipac lahcrairtaP .tnediserP eht dna ,etatS eht ,segduJ neht añeP stoalh ratCrse esdan rhipm are ap laiictosaoe t rneow itissnd arrto ”w ehTre.6have 002”?IMuseum puocsedhn t irk of ribeih latso ’gn thgdiReten htetm uoe balp7p 00u2sniesbnooittavsraebeen sboecitcreated hitwi-w h suj laicoass h tiw denremovements cnoc tra solidarity where artists came together a ,03 rebmevoN nO .sfeileb dna ,snoitca ,sdrow s’enoy reve gniyfitsuj esubA avalcfor alab snoitpo eht gninrecnoc stnemmoc s’añeP ,1202 ni niaga ,dna moitdcenlealaeitnniegdaism nfosialike r ehtthe si eMuseo m rof sde ihTla.kSolidaridad row fo cause, Salvador Allende in Chile oreZ(founded dnuorG fo sruot laugnil-ib ,emityad ,eerf dereffo dna desinagro sretsetorp dalc .O -81 tseok p asn erPi 2o2t02,D ehtfnM i gnriowffteerLte eh’d t ro e oaja,bn areTe,w uatlterb aBpna aigtse irh hCt dengadeidrnbely lAltsn aíatatM sein la Ic lortaaChthe 7t noMuseum dnn sn,o cnanl1991), itazinagro elbissop (started in 1978), or the planned fornaPalestine ebMuseum dluoc ”noituloveR naelihC eht eviL emoC“ ,retaL ”.tsetorp fo tra ehT “ dellac dadinU al ed elihC le ne acinótcetihcra dadilatnemunoM :aípotu 61 lacidar dn.)4a10e2s,raurooticdsEid maSs(irvailtuAgainst cpoaP dna tApartheid ra ,fo seira(started dnuob eh hsup so there is a lineage there, but also int 1993), .stneve bnbriA no dekoob edlea rdcAit:iorgcai,tn sre.dgrn oBim dna a esergd direBvfiOtc ne i ”l,lro ed ehr To “ f,because ée gu M Iwe 8dnwant ,9102and ,81 rebotcO neewteb ”stneve“ tsetorp 218,31 erew ereht ,ediwnoitaN crorBofehltefsosm evsilaobsmi y,Ssu vAeiclreab a ,emtorohijack f D fMthe .nopower itca that Museums (with big M) have .01 ,)4102 ,reigniR|RPJ :hciruZ( yajaV eD dnomsigiS .de ,II .loV kcartdnu r”o.ffled lrow eht egnahc ot elba eb ot snaem detour imilpraxis y rev evsubvert ah yamthe su fstructure o hcaE of Museum, a structure.created with byos gnos-eerht eht fo esaeler eht edulcni ton seod sihT .0202 ,72 hcraM dna sym ti ekam neve t’ndid I tub ,tra llac I taht gniht a si ereH“ 9 dynbahsp ota“h snraeep mt,u gnbik,ak eprsoyw llarcu igo olohm ku ew sawe w ttake setorp O -81 fo shtnom evfi yb desuac egamad lairetam ni tsoc lanoitan ehT gyuteo”r,htrta“s,ewiotnin msAmoc denations zilanigrato mhave dna d ecalpsiover d cultural narratives. How can powerful control mahcuD lecraM htiw weiv retni 9591( ”ekam 71 .DSU noillib 5.3 saw htworg cimonoce lanoitan tsol ni tsoc ehT .DSU noillib 5.4 elebgraoeeGbybllpiw e.)w ,ytiradilos retaerg rof sllthose ac tahnarratives t noitazinainto gro nour a gnown ipolhands? eved edamydaeR eht tuoba notlimaH draeH .detaulave eb ot sraey 03 rehtona ekat dluow citilop ydob eht ot y rujni laicos ehT .6.e 8 l,b nriesdsoo mpneeeblbreivsesnoep vam h eiWeh ,rutoetakLaom nud rBn0a1 doog rof ecrof a etaerc ot troper eht fo sisab eht demrof noitautis eht fo sisylana nA 11 MOhAMMAD For the kind of practice that we wanted to establish, there was no noother onrefta yadirF y revE .deftil saw enitnarauq DIVOC ,0202 rebotcO nI gnirutneV ,ecnerefnoc lautriv erehwynA trA eht ta detneserp owdwy//l:lsapu su.02y0e2hhtcrearMeh onracP dnaWe etahad erc o naw ew how D fMithcould tiW Abe N A or how it could manifest tot timagine ehitself t esolc dna nrub ,tool sretsetorp gniraew avalcalab ,onadeuqaB azalP ni ,ecnis .erehwynatt’rn a.w tth niw snsoe itg atd niersb erpss lespace. .gnniriug tnneviin htiw ,sdlrow tnereffid neewteb v/toenm setatiTherefore, licaf erutcuin rtsthe ruO .tsixe of that space, Mf D was a necessity. action. absence ocsicnarF naS fo sehcruhc detsil egatireh ehT .tsetorp ni sruoh evfi rof retnec ytic .9102 adamelA aicnedivorP ejE .laicoS odillatsE ,rotinoM ABSITA 21 dñlardoI ew oitan retonly ni ehway t ni tfor oofus ento o do what we do with the resources think itn the erewe w ,oreZ dnuorG ni htob ,nóicnusA dna )hcruhC eciloP eht( hcruhc ajroB ed ,91 reb,od tcn Ou,oograg itneah S tednoroter Me”h,etrobueth coted dn 91aso cntarlaaBl“a 31was -eld b/seah ictitotn .oretecm 9had 1i0t2auand le-9w1-ssoana,ds-eevcnlealsam n/elcm al.wpwswid//:fsopttshn,o tis ncreate i elpoenew p ehstructures t htiw gnikfor rowa new type of work within the realm tnecreof p yftiF .y rasrevinna tsrfi s’O -81 kram ot skcatta nosra tsetorp yb deyortsed .9102-erbutco ehdtnonyieBs.e9v10e2itlreob Mpo.lesvreeDhntaomudHn,aoã,çsieOcnG ,rsdtesPig4Here o rhtcould na ,stscreate ilanruo j sawork based on our very own experiences the our a yb noitutitsnoC wen a etirw ot detov %08 dna tuo denrut sretov deretsiger fo peRDtnefm oN C oarts.

1 lopowe nlaomouth d ninseaitielalucqiehne Iv :yaadostadntoryaebf,osegyacrenve ag dnaoygen b i,tem oecvnn i ivalues. nand er dna ,Therefore, gnirewopmthe e ,gexpectations, niripsni the labour, the outcomes were nevele ni yev rus lanoitanretni na ,0202 rebmevoN nI .ylbmessA lanoitutitsnoC snoitaN detinU :kroY weN( y rutnec ts12 eht ni tnempoleved onpus.redrh/e/:tpattihrp.)o91r0p2p,eamnmaaregokriPl tlneeemfpsoeleodistinct; tca had laicothe s dnliberty a lacitto ilorethink p rof our relationship with the object oftoart gnih n ro elttil wenk ro daer dah stnednopser fo %07 taht dnuof seitic labolg /seto ist/gers o.n pd vd eDtI .noiwe p.a 91c02nrd luand ad fee dcr emertxe dna raw yb de.fsdu ohit/saerlfig/itm oF artist. .etamilIn c lthis abolspace, g tnerrit ucwas ehtpossible to slow down and plan for the dnthe a elihC ni ycarcomed rof evitisop eb dluow ti deveileb %05 ,tey O -81 tuoba LANOICAN OIDUTSE 9102 oyaM“ ,socilbúP soidutsE ed ortneC 51 eht swohs oirucreM lE fo egap tnorf eht ,1202 y raunaJ nI 81.wonk t’ndid %32 nÚoPrtNsÓeINbIPllOifuture, w nisaeat rcan ni noffbeat eeb sah ytrevop pace. ae rth setuco ntE e ,9u 10d2 ,d 31eetnaubJr”e ,3c8a°x NeAy ClIg LB EDdna geven .elaihe cpbeco.w dellac won ,msiladnav dna ,nosra ,gnitool erutu F eht rof syadir F detairporppa seiti/lpaeecr-seatsseeuhctnef/opeecr/alcw t wswu //r:sopfttthn,PaEtCropmi saw tI .ycnegreme etamilc -acilbup-noinipo-ed-lanoican-oidutse/9102-0102-satseucne we can bend the institutionaltnemnrevoG eht taht eussi eno rebmun eht sa ,msiladnav dna ,nosra ,gnitool eht nI .sucof otni ylsuoires meht eCANAN k.a9t10o2-toWe ryaem dwere ro ni also secitthinking carp ruo tofpaways da otindnwhich a 91 5e2t$aftoseo citrptn a raow f desw itrn evideavsialwetw ub d bnlrbo riw A yd bedp evoolm and structures .sserdda dluohs eevrframeworks esdawyslidhTes6o1ppu s dn a detcennin ocraeway tni that it allows us to take a step towards .retaw fo elttob a dna selggog dedulcni taht nosrep rep more radical equality.

We were very aware of what it means to be injecting d n u o r a g n i t a u t e p r e p e r a e w t a h t s e i t i c o r t a e h t n m e d n o c d n a n o i t i s o p r u o rebotcO ,oirucreM lE ”,odillatse nu ed ortneuceR“ ,reicreM oiraM 71 81t etipseinto One prevailing question was eht dna noitarepooc namuh fo rew.0o2p02ourselves e,h D .sethis icepinstitutional s a sa dlrow eecology. ht

We were very aware of what it means to be injecting ourselves into this institutional ecology.

One prevailing question was how to bring something different than what already exists?

what already exists? How we can snoillib evael ot gnisoohc llits era ew ,tehow nalptorubring o no ssomething tsixe taht edifferent cnadnubthan a .yaw siht eb ot evah t’nsealmost od tI .ysabotage resim dnacertain niap nstructures i elpoep fo for our benefit to get closer to what we

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rof muesuM decalpsiD eht .noisiv evitcelloc ruo ezilaer ot srotaroballoc tuoba lufepoh dna deticxe ylurt era eW ruo pam ot eunitnoc ew sa emoc ot s’tahw -arap labolg lanoitansnart a otni htworg .ytinummoc dna noitutitsni ,timmuS trA akahD( ”erutceL etonyeK“ ,kavipS ytrovarkahC irtayaG 1 .)8102 ,9 y raurbeF ,akahD

erawa yrev erew eW snaem ti tahw fo gnitcejni eb ot siht otni sevlesruo .ygoloce lanoitutitsni gniliaverp enO woh saw noitseuq gnihtemos gnirb ot tahw naht tnereffid ?stsixe ydaerla

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sMuseum eussi gfor nisthe serddDisplaced a noitazinagro laicos dna larubelieve tlugcnaihssiis aullpcsnto iD ehlctforward, ueesin uM eecd alu ptsthose iiD htwho uesuM il)bD upfM lla( sdeedcway i sgo irnoofrm hC h Tclose .syalPsolidarity eht dnad,with tlueM erohftmare the right 62 ,laatS sanoJ fo tohsneercS Screenshot ot tpmettofa Jonas ew ,nStaal, oitas26revnoc siht nI .ssensselemarginalised tantsoidtnaatn,tenm em ,anollietawlistening rgsiam,sdteacm roand uthrough ceocadlpeshitd sdeep rfoffoereallocating nifflo dna enfunding iln o ni soeWitindividuals, ivitca :pohskrto ,0202 rebmevoN November 2020, Workshop: tclleajboprogrammes ot edlnbaisnsoeicsciva rethat uvoihecnempower .etisbew ru.osenvoiand rfiaeedht gnisocial kam ,s:yequality elbm oTrp llalanfooitawho mm essaAreghfor ,trthose A sinagrO organisations, Organisational Art, The Assembly: calpsiD fo selcinorhC Chronicles of Displacement ra need. taht slairetam dna skrowtra enibmoc ew erehw si edutnteimtleu M ehT areein ynam fo noitanimluc eht si dna gneirkuatm ehat gnni ietm xim aeirtcg,nso tnl aapsiacw itrD ap feM mAmhaTrNgAoMrApS yb detanod ro dednemmocer lanosrep ruo tahw gnirahs yb trats SAMANThA nac eem wm ebaWell, yrgaM stunanpersonal neoriatassyraelvPneofor orp.my reeenwitieebhstmotivation hct ,ybuilding llaniF .riMf ohcDduisorooted l a ekil ,in semy ciovidealism. fo ?DI have ffM sisilnboactsyeheld o thsalways eoht edron neawto ,sn ethe iotitlabelief cvoitlotm nthat ereffart id nhas i spthe ihsrpower entrapto ybchange detropp us world the .seof icn edisIeR dnbecame a ,sreiletincreasingly A ,snoitisopxaware E ,seithat lbmeoften ssA but with the passage time also s’ yadot ni srotaruc sa selor ruo tuoba gnik nihcould t snoinot ssucovercome sid ynam oits s dlimitations ah ev ’eW Aand N A was simply not enough. 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detcennocretni SAMANThA m epSrsuao etsaW dnuorAt a gthe nitamoment uteprep we era are ew planning taht seiticour ortaprogrammes eht nmednofor c dnthe a uniyear oriotsisnoand building Our will otddenm th3Mf twpou ashetDsy.saew lsaawsoarrdalon n oour zat m ehT efh a rnoofthe istiardfoundation enpuooopcm noaC m h uof f1oerheD. pseehknext tam etitpproject icyeeplhappen rofw eh Room, gnsinpoonline etsueorwe h aw,t(looking snalwporduoforward ‘ yorsottssito -xreuworking o illsliyblw evoListening areral notrogntiasfl oohhticwll)iand a eerare w e’n ogn tafhott e-conwwith atdfnousour bdaerdnuh ,gniddalc sotsebs .ayadw nasilhetetesbdoettaegvu ocdanearn a isanpwnoideolp goeespehfoT .sfoor ahrrto’cnsfoeondotitIa.n y rib esmim

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collaborators to realize our collective vision.

We are truly excited and hopeful about what’s to come as we continue to map our growth into a transnational global parainstitution and community.

1 Gayatri Chakravorty Spivak, “Keynote Lecture” (Dhaka Art Summit, Dhaka, February 9, 2018).

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lknowledge wyolonpk tfnoegrn iand riadhrsskills aw‘citizen etatilicascientists’ f ot neek yand rev the -hgiH ,)EPDL( enelyhteylop city’s ytin sneedependency d sn ep eff oeht sas raylnooPitrecycling mHd(nepractices unoerlyahsteeuyslthat soipeyretprevent oce rest na nof i ,sthe rotu birtnoc rfrom uo citizenry enelyhteyloP ,)SP( enerytsyloP ,)Phighly P( sn enek eproductive loyppsoerp ,a)ErgPiD ihsw neydgolthe clhwcolhy‘nthe ,isvayw tn,e)T laEvof ePr(ptheir sth aw traeht t noitseuq eno os ,esiugsid ni disappearing volume enerytS eneidatuB elirtinoly rcA dn ag)n CiVrbP(eewdn iraounder loP etyarleavhown pewaste. sixuesnyod tashifting icaasfcircular dna efil ooftnalways i esruoin csuse, id tacultures ht Via temporalities citsalp detrosnu fo skcaS .sdoog retm caenrthe iladn uhotf ssecuitgso allapidrefhotsoro sataltliof elw a e)m SBoAc(ebeconomy rfo ehdtnyedraaefrand leahet rrepair, oim taesand reervaneupgrade otcsaewhT ’?extend neddihthroughout tahwemos eDharavi ra tey dael eht erehw enil noitagerges eof h.temending teawelsiepucustomisation assoitd nn i adesintp hcycles toergfoctistof a srand raontuaaggregation, bsierktnaot creyterkosgdisassembly nignirb tuoband a eroassembly m saw sihT ,enil eht gnola ti sehsup dna elipwhere ehrtem srean ldisaggregation poiftoithctarropwdsn’m utourfsustain fsomreotyi esvcomplex otrcoesbhoctaleesnsieeof vresdiverse oh dna ecapsInto a etthese aerc ot lausac a oT .stcejbo fo wofl tnatsnpersistently oc ehterm envocmaerem reassemblages hihwt gnipknowledges. .snoitaaggregations roballoc are momentary si sremylop tcerroc otni detromaterial s si etsawflows citsaof lp objects hcihw yand b sseembodied corp eht ,rknowledges ev resbo evomer ,hguorht ftis sdnah fted in hcwhich ihw ta different deeps ehforms t fo esuofacknowledge eb wollof oco-exist. t tlucffiid3 These ways of knowing also pthe sotrnf learning esn adifskills cn erghgt adsnida d Dnthat erembedded utan cidamin onthe ehTprocesses DAMMAhOM represent are .enil eehctam maem tirleapuof voiden i and etsabgaeknowledge afM fo oim fo ytmake ilibissup op cthe imamany nyd aworlds edivorp of etamitni na htiw ytiretxed dna ecneoficself-built s nezhittim c osand erfntiibbself-organized maoecvn ahncagcntialcommunities chytceenrOeh.kTrow that eeivre p,d xelro siwhassemblages, Tre.m ecunseniroecpexheshaped olcwaonokt roatconfluence atceps susreofv shared tra fo tcknowledge ejbo dessecorp gnieb stcejbo eht fo tsom Dharavi. hguohect nnSelf-build tefvoitecgedllethrough paocprgunoipractices, itpcaed n ecraforms ueor sfeortrof ot deen eht sezdialogue, ingocer express a hguorhT .devlovni srekrow ehsand tefioticartisanal reaw ssaehtacvru h t afosh uuooadaptability, reatfuebriartsiderimprovization, egenbikeovoalhagency, w ow om mla roF .erac dnamong a ytiradothers. ilos rof yticitsalp eht gniv resbo dna ,gnihccollaboration, uotsa,gwnginneiotsdiln,human foew ssteachorecycling, rp,slaraireoysn eand stitlsuexperimentation daecrertetm am iaet,rsetccneu tluathe luod sbilabour it social a ni 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These godowns are a combination of corrugated steel and asbestos cladding,

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These intergenerational practices of the labour of social reproduction produce highly generative social relations outside formal training and education.

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Each Each sorter sorter sits sits color, eht si dnuopmoC ht31 eht fo sin nin iafront hc ylof pof pauasdifferent etacirtnicoloured eht ot cfiplastic iplastic cepS .scrate, noitiddesignating noc front different coloured crate, designating color, density, density, quality quality eht dna ’stsitneics nezitic‘ sa sllior kor s different ddifferent na egdepolymer lw onk ’srtypes etypes krowsuch no ycas: Low-density nedneped s’ yticpolyethylene polymer such as: Low-density polyethylene(LDPE), (LDPE), HighHighmorf y rnezitic eht fo tser eht tdensity ndensity everp tpolyethylene apolyethylene ht secitcarp (HDPE), g(HDPE), nilcycerPolypropylenes evitcudorp ylhg(PP), i(PP), h Polystyrene Polypropylenes Polystyrene (PS), (PS), Polyethylene Polyethylene .etterephthalate sterephthalate aw nwo rieht(PET), fo emuPolyvinyl lov eht rechloride d nu gnir(PVC) a(PVC) eppaand Acrylonitrile sand Acrylonitrile id (PET), Polyvinyl chloride Butadiene Styrene Styrene Butadiene serutluc ,esu ni syawla fo ymonoce(ABS) as r(ABS) as alucric well awell fo sas eas itother iother laropplastics m et gnift ihs ehin tinaconsumer iconsumer V plastics found goods.Sacks Sacks of of unsorted unsorted plastic plastic found goods. ivarahD tuohguorht dnetxe edwaste awaste rgpuare dare naemptied noitasim otsuaacpile ,riapat erthe dnafar gnend idneof mthe fo segregation emptied into pile at the far end of the segregationline line where where the the lead lead into ylbmessa dna ylbmessasidsorter ,noitatakes gtakes erggan aan darm’s narm’s a noiworth tworth agerggof asplastic iplastic d fo sefrom lfrom cyc ethe rehpile wpileand sorter of the andpushes pushes itit along along the the line, line, eseht otnI .segdelwonk esrewherein vid fo seeach geach albm essa xremoves elpmoc n iatsusfrom yltnthe ethe tsisconstant rep wherein sorter removes items from constant flowof ofobjects. objects. To To aa casual casual sorter items flow snoitagergga y ratnemom era segobserver, dobserver, elwonk d eidprocess oprocess bme dnby a swhich tcejboplastic fo swowaste flwaste laireis tis am the by which plastic sortedinto intocorrect correct polymers polymers is is the sorted 3 osla gniwonk fo syaw esehTdifficult .tsixe-oto ctoefollow gdelwbecause obecause nk fo sm rothe f tnspeed espeed reffidat hcwhich ihw nideft difficult follow of the at which defthands handssift sift through, through, remove remove of sessecorp eht ni deddebme era taand hand t egdisaggregate ddisaggregate elwonk dnaindividual slliks fo gnitems inraelfrom eht tthe nthe eseline. rper individual items from line. fo sdlrow ynam eht pu ekam taht seThe itThe inurecycling m moc dechain zchain inagrcombines ocombines -fles dna citizen tcitizen liub-flescience s fo recycling science anddexterity dexterity with with an an intimate intimate and egdelwonk derahs fo ecneuflnoc a knowledge hknowledge guorht depofof ahthe s ,sconsumer econsumer galbmessworld, aworld, dliub-even feven leS .though ithough varahDmost the mostof ofthe theobjects objects being being processed processed ,eugolaid ,noitazivorpmi ,ytiliare bare atpfar afar dout aout fo of sof mreach rreach of ssof eof rpthe xthe e ,purchasing spurchasing ecitcarp lan asitraof dnthe a workers power of the workersinvolved. involved. Through Through aa power .srehto gnoma noitatnemiremultisensorial pmultisensorial xe dna ,gnilcyprocess cprocess er ,ycnof eof galooking, namuh listening, ,listening, noitarobatouching, ltouching, loc looking, andobserving observing the the plasticity plasticity and ecudorp noitcudorper laicos fof oofrindividual uindividual obal eht fobjects, oobjects, secitcaeach reach p lan oitarenecan gcan retbe nbe i eidentified sehT polymer identified viaaanumber number of of techniques: techniques: polymer via The performativity performativity of of enoy revE .noitacude dna gniniarttapping, ltapping, amrof ebending, dbending, istuo snsnapping, osnapping, italer laicsometimes osometimes s evitarenebiting gbiting ylhgior h orsmelling. smelling.44The evidence of an knowledge of of consumer consumer dna doohruobhgien eht ,ytinumhaptic mhaptic oc ehknowledge tknowledge ,emoh ehtisis foevidence gnidliubof ehan t oalmost talmost setubiencyclopaedic rencyclopaedic tnoc knowledge objects and which they made, orindeed indeedthe the combination combination of of .mand ehtthe nthe iatpolymers spolymers us taht sof eof im onocethey lamare rare ofnmade, i eht or objects which differentmaterials materialsinintheir theirconstruction constructionand andoperation. operation.ItItisisthis this assemblage assemblage of of different habitual,embodied, embodied,and andhaptic haptic that enablesthe thesorter sorter to to segregate segregate muirknowledge oknowledge sneS sa etthat saWenables habitual, with error.

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disaggregate at the the top top end end of of the the market market disaggregate plastics plastics at (with of purity) purity) takes takes significant significant time time (with highest highest grades grades of to learn.

At the cheaper end of the recycling scale is largely unsorted plastic waste, containing an impossibly diverse array of objects with little prior prior segregation. A snapshot of a typical object flow comprises the plastic cover of a printer [HDPE], [HDPE], bottle top [PP], hair comb [PETE], squeezy shampoo bottle [LDPE], costume jewellery beads beads [PP], a child’s inflatable armband [PVC], plastic plastic chair leg [HDPE], hard shell of an SLR digital camera [HDPE ], a plastic fork [PVC], electric piano keyboard [ABS], mobile phone cover [ABS], [ABS], plastic baby slide [HDPE], ball of nylon rope [A100 [A100 polyamide ], plastic plate [PVC], barbie doll [ABS], [ABS], key ring [PMMA], lamp shade [LDPE], fridge tray tray [HDPE] and so on. Into this endless flow of variably variably identifiable plastic parts, largely intact objects frequently appear, a pocket calculator, vanity mirror, FM radio, domestic iron, or remote control control that must be disaggregated. Many of these objects objects will contain a number of component materials that that cannot be recycled at all. As they enter the sorting sorting line, certain individuals are assigned to disaggregate disaggregate these multi-polymer, multi-material objects. This This usually entails first smashing the object on the floor floor or with a hammer, then peeling away layers with with pliers until circuit boards, wires, metals and the the guts of objects can be discarded into a separate separate pile pile that will be collated and sold to a different godown godown where it will be disaggregated further. Significant Significant skill and learned knowledge of how to disaggregate disaggregate with precision and at speed determines tight margins. The picking, tapping and flicking of plastic into specific containers is all done in a fluid, fluid, almost balletic action of the wrist, demonstrating demonstrating extraordinary skill skill and and learned extraordinary learned knowledge knowledge of of how how to to sort and and disaggregate disaggregate with sort with precision precision and and at at speed, speed,

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Compound 13 Lab Mesh lab screenshot of composite image: Dharavi Pipeline with Plastic Mahal, 2021, SFM Scan, Image credit: Ian Dawson

tekram eht fo dne pot eht ta scitsalp etagerggasid emit tnacfiingis sekat )ytirup fo sedarg tsehgih htiw( .nrael ot elacs gnilcycer eht fo dne repaehc eht tA na gniniatnoc ,etsaw citsalp detrosnu ylegral si roirp elttil htiw stcejbo fo yarra esrevid ylbissopmi wofl tcejbo lacipyt a fo tohspans A .noitagerges ,]EPDH[ retnirp a fo revoc citsalp eht sesirpmoc yzeeuqs ,]ETEP[ bmoc riah ,]PP[ pot elttob sdaeb y rellewej emutsoc ,]EPDL[ elttob oopmahs citsalp ,]CVP[ dnabmra elbataflni s’dlihc a ,]PP[ latigid RLS na fo llehs drah ,]EPDH[ gel riahc cirtcele ,]CVP[ krof citsalp a ,] EPDH[ aremac ,]SBA[ revoc enohp elibom ,]SBA[ draobyek onaip 001A[ epor nolyn fo llab ,]EPDH[ edils ybab citsalp ,]SBA[ llod eibrab ,]CVP[ etalp citsalp ,] edimaylop yart egdirf ,]EPDL[ edahs pmal ,]AMMP[ gnir yek ylbairav fo wofl sseldne siht otnI .no os dna ]EPDH[ stcejbo tcatni ylegral ,strap citsalp elbafiitnedi ytinav ,rotaluclac tekcop a ,raeppa yltneuqerf lortnoc etomer ro ,nori citsemod ,oidar MF ,rorrim stcejbo eseht fo ynaM .detagerggasid eb tsum taht taht slairetam tnenopmoc fo rebmun a niatnoc lliw gnitros eht retne yeht sA .lla ta delcycer eb tonnac etagerggasid ot dengissa era slaudividni niatrec ,enil sihT .stcejbo lairetam-itlum ,remylop-itlum eseht roofl eht no tcejbo eht gnihsams tsrfi sliatne yllausu htiw sreyal yawa gnileep neht ,remmah a htiw ro eht dna slatem ,seriw ,sdraob tiucric litnu sreilp elip etarapes a otni dedracsid eb nac stcejbo fo stug nwodog tnereffid a ot dlos dna detalloc eb lliw taht tnacfiingiS .rehtruf detagerggasid eb lliw ti erehw etagerggasid ot woh fo egdelwonk denrael dna lliks thgit senimreted deeps ta dna noisicerp htiw fo gnikcifl dna gnippat ,gnikcip ehT .snigram ,diufl a ni enod lla si sreniatnoc cfiiceps otni citsalp gnitartsnomed ,tsirw eht fo noitca citellab tsomla ot woh fo egdelwonk denrael dna lliks y ranidroartxe ,deeps ta dna noisicerp htiw etagerggasid dna tros

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as well as material cycle mean the Mahal allallofofwhich The temporal which esnedetermine ddetermine otni evletight dtight ot tmargins. omargins. n saw laoThe The g y rimprovised aimprovised mirp ehT dance danceof ofwaste wasteprocessing processing fo sretemarap dna seitilibissop eht seThe rolptemporal xe srefiingdimension idimension S tcejorp evas itawell robaas llomaterial c ruO cycle ,mean )llits oedthe iv( hPlastic kPlastic ilhsaT eryMahal tnIcM nivlA 1:60 :TRT ,9102 into the production of new new consumer consumer2goods. goods. demands (as anti-monument) is reabsorbed of demands scitoiconstant mconstant es nairrattention uattention ssuaS yband d and ekquick oquick ve ,mdecision sdecision ilautcelmaking lemaking tni over overextended extended-periods. periods. er dna ,stnemtcaneer ,gnitaerc h(as guoanti-monument) rht ecived a sa slis aureabsorbed tir gnisu nointo itacithe n umproduction moc the permanence of plastic itself with the radical impermanence of impermanence ofits its Working its Ito combines combines the permanence of Working a rohours fhours wollaare are otlong. rlong. ehtaSitting rSitting tub ,)all srall efiday iday ngion son nthe othe krfloor ofloor w sihtakes takes ( itstoll tollon onthe the dnbody. body. a gniriuqni ni tseretni lautum ruIt morf detan igiro ssecorp sihTplastic .snoititself aterprwith etni the radical (at the end of the performances, the plastic plastic temple templeisisreturned returnedto to Difficult recomposition (at the end Difficult eb ot unregulated saunregulated w tahw ot eworking sworking nopser conditions laconditions cisyhp ,laare rare ecsaiavstaple staple erom ofofthe thetrade, trade,contamination contamination evitcelloc dna ,ytilaer fo noitpecrecomposition rep ,feileb neew teb pih snoof itathe ler eperformances, ht gnignellahcthe and recycled). ofofwaste isisintensified the 13th compound and wastehandled handledwithout withoutgloves gloves .kor ror oprotective wprotective eht ni deequipment vequipment resbo intensifiedby by fo asatlack ilack mil of eofht morf yawa kaerb ot the saw13th compound sevitcejbo yek ru o forecycled). eno hcihw ni ,gnikniht water water gnwith iywith dobwhich m which e roftoetolregularly cregularly ihev a sawash swash noithands. chands. nuf lautiR .skrowemarf suoigiler Compound 13 LAB ti ,efil ot thguorb era taht stpecnoc dna saedi dna ,slairetam ,emit fo stniCompound artsnoc lacis13 yhLAB p eht ,devlove srefiingiS sA process ofnPlastic Mahal takes takes place placeat atthe the Plastic co-design and co-creation of Plastic tcaMahal sMahal iht nI .noitca lacisyhp a setatissecen erofereht ni ti gnimrofsnart nefto ,tcejorp rThe uThe o deco-design pahs dna and htapco-creation eht decneuprocess flni tnem oPlastic rivne Mahal Creating together with withthe therecycling recycling The Plastic isis Compound together The Plastic thguoht Mahal foMahal met(Palace sy(Palace s a mof oof rPlastic) f Plastic) detalsn aartatemporary stemporary i noitamropublic public fni sculpture sculptureand andfpolitical opolitical hcae ,napaJ dna ,ASU ,ynamreGCompound ni tcejorp 13 ruoLab det(www.compound13.org). ibihxe eW .syaw detcepxCreating enu individual recyclers, the the Plastic PlasticMahal Mahalwill will performance that godowns and performance dna refiinin gin isthe the ehtmode mode lautirofnofIa aprocessional .nprocessional oitamrffia laritual critual isyhp that ot appears appearsin invarious various ni ,sites sites deretla demees krow eht semitgodowns tA .evitcof epthe srep13th wenCompound a gnitubirtn oc sindividual gnittes ehtrecyclers, imaginings individual narratives narrativesthat thattell tell across city be across ni the th the gu acity c fof i of sMumbai. a Mumbai. ,yllarutaThe nThe ecaplastic lplastic p riehMahal, t Mahal, dnfi debuilt fibuilt ingifrom sfromthe thecity’s city’splastic plastic dna ewaste, twaste, elpmoc erew taht seceip ;snobe itpan ean crassemblage ep ruo hguorofhtknowledge, flesti gnimrimaginings ofsnart esnand eand s a individual work Temporarily postponed due due to tothe theCovid-19 Covid-19 aggregates the story Dharavi. aggregates ecnahc ain sin athe hthe tcinformal einformal lletni ehrecycling trecycling erofeb tncentre ecentre momintin cDharavi’s aDharavi’s xe eht 13th Compound.

13th Compound.sItu Itoisis irmade amade v eht ecnatsni emas eht nthe I .gstory n ittesof hcwaste ae htiw degin nah c ylgnimTemporarily ees dehsinfi postponed when circumstances permit. permit. ininthe throughout pandemic the gcollective nicollective lbane ,snmode omode itomof eofrself-construction uself-construction o sessecca tI .enthat ethat v reis tis nvisible i visible ot throughoutthe the suinformal informal delbane noitacol hcaE .gnidnatpandemic srednu wethe n etproject areneg oawaits t su dereactivation wolla osla sgwhen nittescircumstances partnership with Acorn Foundation Foundationand and settlements ofiofeIndian settlements eht n lIndian baniatcities. tcities. anu nCreated oCreated itacinutogether m together moc fowith m with rofthe the a waste wasteworkers workers nof oof itthe athe cin13th 13th ummoc fo rewop eht dna lautir noThe saedproject i gnidnis apdelivered xe-reve htin iwpartnership tnemirepxe with ot Acorn supported residency programme at atCompound Compound Compound supported by the artist/designer/engineer programme Compound sti no dand rand owindividual nindividual ekops ro recyclers, ,trecyclers, xet nettirthe w the fotemporary temporary krowemarstructure fstructureisisaacelebration celebrationof ofthe the .ydobme yehtresidency taht Ben Parry Parry and and Sharmila SharmilaSamant.

Samant.The The livelihoods Lab, livelihoods laitnesse eof hof tall sall i those lathose utir eworking h working t fo noin itin cMumbai’s aMumbai’s esac siht waste nwaste I .nwmanagement omanagementchain chaineand and ht ntheir their i )sevired ylbaborp lautir/sut13 i13 r hLab, cihwled moby rf( co-curators atR fo tpecnGraham oc lanigirJeffery, o ehT Ben an ofeV Mumbai that that might mightbe bedescribed described handling Lab of Mumbai handling dof enofothe ithe tncity’s em city’s eroplastic faplastic eht owaste. twaste. efil gnivig ,tnenopmoc raluger“ eht ot snamuh gningila oLab t detisacan ideemergent d secitcar‘maker p ot srespace’ fer yhpin oso liharea p cid of (re)maker and (re)manufacturing (re)manufacturing ininothis one and sThe laThe utiunique r unique fo tluscontext econtext r a sa :nofoofiworking tworking acinumm cthis fo way sway mewith tswith ys people peopleemployed employed ]...[in in cithe m the soc fo erutcurts eurt dna laas ras utone an ,rof epthe orplargest erofereinformal ht dna ,laaggregations mron eht fo rof ed(re)maker ro offers young people access accessto tocurrent current informal wopicking, n ”,secrof rehgih“ htiw eugolaidspaces a gnihon silbthe atseplanet. fo yawCompound cilobmys a 13 ecnLab O 1”offers spaces people informalwaste ,waste gnitemanagement emanagement fl yltnerehniofeofrthe athe yecity hcity t nis ois itthat cthat a nathe the gnivery every b process processof ofwaste waste picking, .stnevyoung e design and printing, printing, and andisisintended intended detalIt eItr serutseg fo tes ro noitca detechnologies taeper a ebircin sedigital d ot demedia, su ylnom moc s3D i mdesign ret eht and collecting, state or technologies music, collecting, ssenand eand vilarecycling rrecycling ieht nI operates .toperates nemomoutside eoutside ht ni dof eof cn state eirepinterference xinterference e orsupport. support. oInnthis oisserpxe eht rof tsylatac ylno to etohtbe toan n sexperimental i noigiler hguolearning hT .sfeilspace eb fo m etsys issues a ot of be where happens hcae in otinspite euspite d ,xof uof fla almunicipal amunicipal cigolohcydrive sdrive p tnafor tfor snaoac“cleaner “cleaner a si erehgreener tgreenerMumbai.’

Mumbai.’fIn this issues of work, work, waste wasteand andsurvival survival happens .noigilethe rthe fo noitcnuf a sa detaicossain elos21st neftCentury o era slacan utir be ,sgexplored. nikatrednu citsilautir inylthe the instance ecnethe irthe epconfrontation xeconfrontation eht gnicnahwith nwith e rostate /state dna power gpower niretlis aisearaupolitical political tseg actthat thatchallenges challenges instance act edihandle shandle tuo srovaedne laicos dna larutluc fo ytThis eiravdiscussion tsav a ni dof etainformal lucitra siwaste lautir management, ,management, tcaf nI the invisibility detarobaof leofwaste nwaste oitamwork rwork ofniand eand hTthe the .lesocial vsocial el lanstatus ostatus itomeofof nathose those no individuals individualswho who the biopolitics biopoliticsof of invisibility tthe nen opmoc evah lla ,.cte ,sgniredisposability htag ylimaf ,eand fil em ohknowledge ,stropS .sdassemblages ne suoigiler of fof o waste disposability waste. a niThe rThe o ,yvital rvital egacontribution mcontribution i ni ,nettirwmade smade a hcu by s ,informal sinformal mrof rehwaste twaste o ni recovery recoverythrough throughsthe selfthe assemblages waste recycling recycling are areexplored explored waste. by selfdechoing etalucitthe rthe a ylhgih srehto ,citsilaudin ivmore imore dni dn a enain dnthe um book emosWaste ,ytivitWork: ca citsThe ilauArt tArt ir fof oof Survival in detail organized gnidnatsrecycling rerecycling dnu tselsector lu sector f ehtremains sremains etagen undervalued gundervalued nitnuocer laand band revlargely largelyinvisible, invisible,echoing Survival in in Dharavi Dharaviby byGraham Graham organized asustain utir ,secitcarp lautirips morf gniJeffery mmetSand .sgnBen itteParry. s laico7s ni decitcarp yldaorb dna Jeffery marginalized ni deniag eand gand deldisposable wdisposable onk gniriu status qca foofyoftthe ithe nutextremely rextremely oppo dnapoor poorworkers workersthat thatlsustain marginalized status 5 5 Plastic challenges receivedpreconceived preconceived demeed eb yam tahw ni secitcarp suoigiler remrof eht seohce seiteicos nredom ni eh ,process noitapiof cof itvisibilization, rvisibilization, ap ,eroferehTPlastic .ecneirMahal eMahal pxe evchallenges il eht a taprocess received it.it.AsAs SPARC and and KRIVIA, Re-interpreting, Re-imagining, Redeveloping Dharavi (Mumbai: (Mumbai:SPARC SPARCand andKamla KamlaRaheja Raheja notionsofofdisposable disposable advocatingfor forthe the ,erwork uwork tluc y reve ni tnereffid hguoht1l1aSPARC ,slauVidyanidhi tir lanoitidarT .tnemegagne laicRedeveloping firepus aDharavi .tnproducts, eproducts, nopmoc materials lamaterials itnesse eand hand t sipeople, ,people, gniod advocating notions Vidyanidhi Institute for Architecture and Environmental Environmental Studies, Studies,2010).

2010). of informal recyclers as essential and valued labour within wider systems of n i n o i t a m r o f s n a r t c i t a r c n y s o i d i n a g n i t a r e n e g f o y t i l i b a p a c e h t d l o h , s s e l e h t r e v e n d e u n i t n o c t c e j o r p r u o 9 1 0 2 r e b m e v o N n I 2 Nisha Pandey and Deepti Sharma, “Creating Synergy between Environment and Employment: of informal recyclers as essential and valued labour within wider systems of 2 Nisha Pandey Synergy between Environment and Employment:AACase Case study of of Plastic Plastic Recycling Recycling Industry study Industry infDharavi, Dharavi, Mumbai,” GreaterVision VisionConferences Conferences&&Seminars, Seminars,2014, 2014, production can such performanceof ofplastic plastic :ytilaerin o esnesMumbai,” s’eno Greater ni ycand nand ediconsumption. seconsumption. r s’tsitra na fIt oItyasks, tasks, inutwhat rwhat oppocan ehtsuch h tiw aaperformance production http://globalbizresearch.org/Mumbai_Conference/pdf/pdf/M4102.pdf. http://globalbizresearch.org/Mumbai_Conference/pdf/pdf/M4102.pdf. communicate spectators thesurvival survivalof ofMumbai’s Mumbai’s egalliV trto Atoits laits nparticipants oparticipants itanretnI uzand iaand ihsto ito Nspectators eht ta ,napabout aabout J Shiv Visvanathan, Visvanathan, “For “For aa new new epistemology epistemology of communicate the 33 Shiv of the the South,” South,” University University of of London LondonSOAS SOASResearch ResearchOnline, Online,2009, 2009, urban and and crises? eht rednu desuf ,denigami sa dlrow ehhttps://eprints.soas.ac.uk/17278/1/2012/630/630_shiv_visvanathan.htm. thttps://eprints.soas.ac.uk/17278/1/2012/630/630_shiv_visvanathan.htm. dna devil sa dlrow eht ,lautir a nI sniatpoor npoor uomand ehtas nas iadaway eway tauto tito sdeal sdeal i ycwith nwith edisurban eurban r sihTand .)Vecological Aecological IN( urban crises?

Kaveri Gill, Gill, Of Of Poverty Poverty and and Plastic: Plastic: Scavenging 44 Kaveri Scavenging and and Scrap-Trading Scrap-Trading Entrepreneurs Entrepreneursin inIndia’s India’sUrban UrbanInformal Informal 2 Combining the role of ritual and traditional street procession, the process d l r o w e m a s e h t e b o t t u o n r u t , s m r o f cilobm ys foOxford tes elUniversity gnis a foPress, ycne2010). ga f o n o i g e r t s e w h t r o n e h t n i e g a l l i v l l a m s a f o Economy (Oxford: Oxford Combining the role of ritual and traditional street procession, the process Economy (Oxford: University Press, 2010).

5 Ibid.

5 Ibid. of making Plastic Mahal is about creating new stories, new symbols, and symbolic skroPlastic w suoirMahal av detnisesabout erp ewcreating erehT .anew mihstories, sukuF new symbols, and symbolic of making Zygmunt Bauman, Bauman, Wasted Wasted Lives: Lives: Modernity its Outcasts 66 Zygmunt Modernity and Outcasts (Cambridge: (Cambridge: Polity PolityPress, Press,2004).

2004).

-and er a :sevitcepsrep y ratnem eGraham lpmocJeffery owtand moBen rf dParry, emm ets Work: y riuand q niits ru OSurvival action, as ameans means wastemanagement managementand .eas raeh w ynA of tcof etalking jotalking rP fo tabout xabout etnothe cthe ehinformal tinformal ni detarsector esector neg ofofwaste Jeffery and Ben Parry, Waste The in action, 77 Graham Waste Work: The Art Art of of Survival in Dharavi Dharavi(Bath, (Bath,England: England:Wunderkammer Wunderkammer Press, 2021). utirip2021). s fo noisulcni- er dna noitairporppa theinfrastructural the city excludes,repels, repels,and and a yb denrevog dlrow a ni ytilaPress, loinfrastructural ohcs remrof acollisions ncollisions i detacolinsinithe V AIcity N foofof suMumbai eMumbai lcun ehthat Tthatexcludes, the gnikat ,taht rewop fo smrof esoht sdrawot msicitirc a dna ,sucof citsilairetam eradicates At same aimsto tochallenge challengepublic public noitibihxas easeithitrapidly t rapidly fo enodevelops. ndevelops.

I .retnecAt ytthe inthe um moctime, dtime, enruittitaims eradicates same tnanimod rieht sserpxe ,efil ni gninaem a gnidnfi rof deen s’ ytinamuh fo egatnavda perceptions the negativeperception/ perception/ na dengiof seofd ewpolitics ,politics moorsof saoflhuman chuman a sa dedisposability sdisposability u ecno ,seca–p–the sthenegative perceptions the etaehandling rhandling c-er dna ,tcane-er ot saw noitnetni ruO .ytiretla fo noisulcxe eht hguorht cigol marginalisation classof ofthose those detcelloc aroof flofdinformal ninformal a oedivlabour, flabour, o gnitsin iin snparticular oparticular c noitallathe tthe snsocial i socialclass marginalisation 6 6 .egdelwonk etanimessid dna ,revocsid ot ,dehs ot ,mrofsnart ot ,reffo ot slautir wastematerials materialsand andhuman humansanitation sanitationseen .yseen tinias cas ivdisposable. edisposable. ht ni waste

130 130

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Aurora Del Rio and Alvin McIntyre 141

bprimary i s.asn wwas fl ltahrto hipm einto sdense uhechihTw fo lla elcyc laiOur retam sa llew sa no isnemiSignifiers d laropmexplores et ehT the possibilities and parameters collaborative project gnissof ecorp etsaw fo ecnad dThe esivyo rdpemripeshnT goal igarraom not geim tdelve en rfeoted a oeifsili(ceihdsikecSievoked ecqedipnaehn toniSaussurrian kiatfsonsemiotics noocitsiddnaartmeehdt .sdoog remusnoc wen fo noitcucommunication dorp eht otni deusing brosbarituals er si )tas neamdevice unom-through itna sa( creating, reenactments, .sdand oirerep dednetxe revo gnikintellectualism, ad mnn u by tinaentatabetn ffltn em zbut iattiihSsrather i.N truaballow agn,)iah d sti fo ecnenamrepmi lacidar eht interpretations. htiw flesti citsalpThis fo ecprocess nenamreoriginated p eht senibfrom moc our tI mutual interest in inquiring .ydoand b eht no llot sti seka(his t rrooowork eh ton neolesignifiers), yhacdalEla.u gn gnootl eto sirrut oahsfor ktraoeW adernai sdneotphysical citeildloncocsagw itw alldaeto ttsanwhat fou ttrlto aupcbe siihDt ot denruter si elpmet citsalp ehtchallenging ,secnamrofrthe ep erelationship ht fo dne ehbetween t ta( noitibelief, sopmoperception cer of reality, and collective noitanimatnoc ,edart eht fo emore lpaytslivisceral, response ninkoro liueghetrn was ffi gpniiusqsaepem tsro ersoefveohlgt htugouhotrihwt d skeladw .)delcone ycerofdn a dkey nuoobjectives pmoc ht31was eht to break away from the thinking, in which our fo klimits cal a yofb defiisnetni si tnemobserved vioin tccenthe teor,spwork. naehvietatstaidwem fo ehtRitual ni .escdnn eaih reh psxaewehyas tlrfaaolu tgraepr olatrh gceithn i nhatiswa rlaeu ir religious frameworks. functions vehicle for embodying w tatw saw aand remconcepts ehpe fo ethat su ehare T .brought noiger ehtot flife, o snit iatnuom BAphysical L 31 dnuconstraints opmoC As Signifiers evolved, the of time, materials, and ideas sgnihnecessitates t lla ,ecnessaephysical nI .laretaction. il dna lcaIn ilhoathis bM mycact sithstaolP b eht ta ecalp sekat lahaM cenvironment itsalP fo ssecinfluenced orp noitaercthe -ocpath dna and ngiseshaped d-oc ehour T project, often transforming it in therefore veew Hsi.l)acirtesm ehfrom e(srlaehvainMu h gnilcycer eht htiw rehtegot gnitunexpected aerC .)gro.31ways. dnuopWe mocexhibited .www( baLour 31 project dnuopmin oCGermany, USA, and Japan, laceach itilopofdna erutplucs cilbinformation up y raro,rpem is toatranslated alP fopeecearlaaaP system ofceithought tstan lPi hethiw T eomiseshepceor,p naapfIn soeferitual idl o’sm eicthe foam esand b lliw lahaM citsalP eht ,srelcycerthe lausettings dividni dcontributing na dnuopmoaCnew ht31perspective. eht fo snwodAt ogtimes the work seemed altered, setis sin uoirav ni sraeppa tato htphysical lauytitrillaarn affirmation. eehptssignifier nriueocn ruoafcrep fearM ehtheir e.w oh ot as iyttacaught set m llet taht sevitarran laudividni adnsense a sgntransforming inigami ,egdelitself wonkthrough fo egalbour mesperceptions; sa na eb pieces that were complete ,etsaw ciand tsalp s’ ytic eht morfsignified tliub e,rlaohfind ctistsi atIlplace p .erhaTnaturally, iab mwuM feovif ilcereh sin soocrecba ennoi semoment irltanuetcirganbefore elaxm e intellect traohfnt ieetohnthas aatgreorpgm 91-divoC eht ot eud denoptsop finished yliraropm eT .ivarahchanged D ni krow etsaeach w fosetting. y rots ehIn t the same instance the seemingly with edam various si tI .dnuopmoC ht31 s’ivthe arahexact D igln cyisciecrrthe noit staentchance gai vsilftoh giheveiw foi .timrep secnatsmucricsettings nehw nalso oitavallowed itcaer stus iawto a tgenerate cejorp ehnew t cim ednap understanding.

Each locationlenabled amrofni us eht tuohguorht elbisto iv intervene. si t.athntem nooim tIt cueaccesses rhtst nnoi cg-nflieour emotions, egdilohm tenabling cseyllaowc eht n eh.tsesunattainable nsatthe ,lealuttieRs dna noitadnuoF nrocA htto iw experiment pihsrentrapwith ni deever-expanding reviled si tcejorideas p ehTon ritual and the power of communication ht31 eht fo srekrow etsaw ehat form htiw rof ehcommunication t.elagroetmdeehtapeerC irteitcnnuaoicdn,tIcfaoin nseam n owritten bce,rssleaor luedh nacdanon rueo mits hp E dnuopmoC ta emmargorp ycnethat diserthey reenembody. igne/rengised/tsitra eht yb detroppus eht fo noitarbelec a si erutcurtsframework y raroapsmaeltaof eh tit,csnru elfceytext, spoken itvein donni d,word pem oC n n auM taaction ,nlai ugn tiirkof rroothe ,tceasritual n ehT .tnamaS alimrahS dna y rraP neB ,The y refforiginal eJ maharconcept G srotarof ucRta -oc (from yb delwhich ,baL 3ritus/ritual 1 probably derives) riehtindthe na niahc tnemeganamown. etsaw Inesvthis ’iagbym case w onhatflolis anfothe oitsadtessential ooesheilrepveirl ihsieS tahtgiving gnid.entalife ecdin ihst’ yhttiicweh sit tfIo .gtnielm debircsed eb thgim taht iabmuM fo aephilosophy ra na ni ’ecarefers ps rekto ampractices ‘ tnegremdedicated e na si baLto aligning humans to the “regular Vedic component, staswrto tthe sualspaforementioned dnoam h lltantaoscn ieruuqoinof out rituals d gnirutcafunam)er( dna rekam)eorder r( fo sof nothe itagnormal, ergga lam roftherefore ni tsegral proper, eht fo enatural no sa and true structure of cosmic and eht ni[...] deyolpme elpoep hsystems tiw yaw sof ihtcommunication: ni gnikrow.nfo ittxaeas result ehed Tda saw 1 symbolic a sdialogue with “higher forces,” atatihraction fo enievmfoegtannioapm eehttsm tnerruc ot ssecca elpoep gnuoevents.” y sreffo bOnce aL 31 adn uopmoCway .tenof alpestablishing eht no secap ,gnikcinow p etsaw fo ssecorp y rebeing v e,hetgan teh si nyatim they c uehtare fowtinherently fleeting, aworlaFmrofni laongo In ayrcterfod nnoait,gan iriptcoerp dednetni si dna ,gnitnirp dna the ngisterm ed Dis 3 ,commonly cisum ,aideused m latto igidescribe d ni seigoalorepeated nhcet action or set of gestures related tI .troppus ro ecnerefretexperienced n i.eeutasstsi-n foon edain isstithe uaonsamoment. ebteakriep nitiildctheir aliveness llp oac oitcnineu mm tnaesflux, erertoidue aeach efpephaT laviv rus dna etsaw ,krow fo seto ussai system erehw eof cabeliefs. ps gninrThough ael latnereligion mirepxeisnnot a ebthe ot only catalyst for the expression siht nof I ’.iabmuM reneergthere renaeislcla“rconstant autrloufce-svsiropsychological drclafp fo p/d s nnato i srn h ritualistic undertakings, srseewleohptreeand/or a ,ncoitistialtanboirthe tfnsoi cexperience noeihttaiercpnoartpspnai .derolpxe eb rituals nac y ruare tneoften C ts12solely eht niassociated as a function eofhtreligion. segnellahc taht tca lacitgesture ilop a s,ialtering tvaetsn hdtniw enhancing inisasuvast fo emotional n s’eyh titnd aThe m hro ekwiLet s.n amfou h fo scitilopoib eht ,tnemeIn gafact, nam ritual etsawislaarticulated mrofni fo no csidvariety sihT of cultural and social endeavors eldoutside nah ohw slaudividni esoon htan suotiatptseclareicpolevel. naukinformation aw elaborated ytyilriebvisoivsnlai life, etc., all have components rfforms, areadpaem s en hotit,u erbuirtatin m ar.ain derolpxe era gnilcycer etsaw of fo religious segalbmeends. ssa egdSports, elwonkhome eht dn a ytfamily ilibasogatherings, psid -fles eht hguorht y revocer ein tsaother wmlaom rsosfenni eytbsuch as written, nnoimagery, co lartfivnoeihtor T eptesaaswa others highlyeharticulated irecounting elarvurtelu oiasu aotocsefullest lsa gsinn m maharG yb ivarahD ni laviv ruS fof o tritualistic rA eh T :kroactivity, W etsaWsome koob mundane eht ni liateand d erindividualistic, om ni t gniohce ,elbisivni ylegral dverbal ntaondesu dC nu .nsnegates n mlleirnrthe ilacunderstanding ycueh r dreh zitnoaygnroa 7 and broadly practiced in social nopportunity fiuetacquiring ebsid nadcntaahdtegained .y rraPsettings. neB dnaStemming y reffeJ from spiritual practices, niaritual tsus taht srekrow roop and yleym earytxbe,yelhetviftoinsof adts,deeln bw asooknowledge p zginlaihntiegm in raoms devdeemed iecnocerp deviecer segnethe llahlive c lahexperience. aM citsalP Therefore, ,noitazilibisparticipation, iv fo sseco.rppuaothe in modern societies echoes the former religious practices in what may be rsgAe5n.toi ajehaR almaK dna CRAPS :iabmuM( ivarahD gnipolevedeR ,gninigami-eR ,gniterpretni-eR ,AIVIRK dna CRAPS 1 row eht rof gnitacovda ,edoing, lpoep d aitaslalessential taim tocuddeotarp a superficial engagement. Traditional rituals, although different in every kculture, nnothe airtsen na,sncomponent. roeblablalosocpossilda feoWsnoiton is .)0102 ,seidutS latnemnorivnE dna erutcetihcrA rof etutitsnI ihdinaydiV fo sin metsys rediw nihtiw ruobaIn lndwNovember eoutlanvi ydrneallla2019 agitlnaenour sosietnsproject am the capability ofnagenerating eavsnroeclcnycontinued ucenraln i dreozfn iliafeor esaC A :tnemyolpmE dna tnemnorivnEnevertheless, neewteb ygrenyS ghold nitaerC “ ,am rahS itpeeD d yednaP ahsiN an 2 idiosyncratic transformation ,4102 ,sranimeS & secnerefnoC noisiV retaerG ”,iabmuM ,ivarahD ni y rtsudnI gnilcyceR citsalP fo yduts citsalp fo ecnamrofrep a hwith cu,d s en tadhswaw ,sktash a ttIeof ooihtp cabdann a ann oitin one’s sense of reality: taacnopportunity o s.nuan dm enuosn do nresidency dceutdaoerpc the artist’s .fdp.2014M/fdp/fdp/ecnerefnoC_iabmuM/gro.hcraeserziblabolg//:ptth s’iabmuM fo laviv rus eht tuobJapan, a sr.V oA taIat tNcethe oottd naInternational cirtoraf pehst ifotArt cdineuhm oac opts,rNishiaizu einraposrtp rpeim hettaaeVillage t rm eft ,9002 ,enilnO hcraeseR SAOS nodnoL fo ytisrevinU ”,htuoS eht fo ygolometsipe wen a roF“ ,nahtanavsiV vihS 3 .mth.nahtanavsiv_vihs_0In 36/0a36ritual, /2102/1/8the 7271/world ku.ca.saas os.slived tnirpe//and :sptththe world as imagined, fused under the ?sesirc lacigo(NIAV). locendindaeThis n urphtsiawwlaeemd t eysaewnapsin riotiodparntaebhrT u v raebsreresidency aaJ dlthe annaomountains isooh situated lamrofnI nabrU s’aidnI ni sruenerpertnE gnidar T-parcS dna gnignevacS :citsalP dna ytrevoP fO ,lliG irevaK 4 secor2p eht ,noissecorp teertof s laadnsmall g,neitnaitbsm turn out to be the same sworld noaitsitdcavillage erfftedlnaanin olasuthe retipr northwest efohtelolar hethitwregion laonCigiro sti of .)0agency 102 ,sserPof ytiasrsingle evinU droset fxOof :drosymbolic fxO( ymonocforms, E .dibI 5 cilobmys dna ,slobmys wen ,sFukushima. eeircoetip sw n g .n tusotpresented bi afosiselairhoam Mvarious citgsanliPoworks moofor eheT eThere fiitlareorcirp em hgcneiksam we .)4002 ,sserP ytiloP :egdirbmaC( stsactuO sti dna ytinredoM :seviL detsaW ,namuaB tnumgyZ 6 perspectives: adnrea tnemeganam etsaw fo rotgenerated ces lsanm eh oirtoafin cnoivthe n I tscontext atu woebcaagpn s irkProject allautcfiotrsanAnywhere. paseim ht arosfad,n etoaietcrac of remmakrednuW :dnalgnE ,htaB( ivarahD ni laviv ruSOur fo trAinquiry eh T :kroW stemmed etsaW ,y rraP nfrom eB dna two y reffecomplementary J maharG 7 .)12spirituality 02 ,sserP appropriation and re-inclusion of in a world governed by a dna ,sleper ,sedulcxe tahThe t iabnucleus maueM yatliNIAV cOlaa.reformer ulbtacm uratnsschool anrUfneihet hot tarfobof ec oethtsanis wi slocated tnoeitsniillrou in materialistic focus, and a criticism towards those forms of power that, taking cilbup egnellahc ot smia tturned i ,emditneacommunity m t toArfcenter. .sgpnoilteravtesIn d”ynone loditpaof anrithe re reapsaephm vti ds“aexhibition fsoetdaochidteam advantage of humanity’s need for finding a meaning in life, express their dominant /noitpecrep evitagen ehtspaces, – yftoilisbeaonce idednraom fot sgcniitsiu losptn ewe h t designed feotasn itnpaean c,rkenpi csiopvsdused ceuraheclassroom, h em tsod as logic through the exclusion of alterity. Our intention was to re-enact, gand nildre-create nah esoht fo ssalc laicos installation eh aconsisting pen l glvideo anm roufoand nni oforflora n evt erSal.usckirtarm r ic,firiucoebpasof icn pnsotintacollected esdilisaenriglaracm ol 6 rituals to offer, to transform, to shed, to discover, and disseminate knowledge. .elbasin opthe siddsvicinity. eayanlepesdnaoidtaetdirnoacsenr aem reuwhsdnnoaitasclaoivrentialm aneotssraew p

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fo sretemarap dna seistiihltibniisemsoocpleWeheBt osieRrloelDpaxreorsurAefiingiS tcejorp evitaroballoc ruO litts e oecdiv ive ( ddnaaLsa slautir gnisu noitacinummoc -er dna ,stnemtcaneer ,g3n4:i5t2a:eTrRcTh,9g10u2o,r)lh dna gniriuqni ni tseretni lautum ruo morf detanigiro ssecorp sihT .snoitaterpretni evitcelloc dna ,ytilaer fo noitpecrep ,feileb neewteb pihsnoitaler eht gnignellahc fo stimil eht morf yawa kaerb ot saw sevitcejbo yek ruo fo eno hcihw ni ,gnikniht .skrowemarf suoigiler dna ,slairetam ,emit fo stniartsnoc lacisyhp eht ,devlove srefiingiS sA ni ti gnimrofsnart nefto ,tcejorp ruo depahs dna htap eht decneuflni tnemnorivne fo hcae ,napaJ dna ,ASU ,ynamreG ni tcejorp ruo detibihxe eW .syaw detcepxenu ni ,deretla demees krow eht semit tA .evitcepsrep wen a gnitubirtnoc sgnittes eht dna etelpmoc erew taht seceip ;snoitpecrep ruo hguorht flesti gnimrofsnart esnes a suoirav eht ecnatsni emas eht nI .gnittes hcae htiw degnahc ylgnimees dehsinfi su delbane noitacol hcaE .gnidnatsrednu wen etareneg ot su dewolla osla sgnittes noitacinummoc fo rewop eht dna lautir no saedi gnidnapxe-reve htiw tnemirepxe ot .ydobme yeht taht eht ni )sevired ylbaborp lautir/sutir hcihw morf( atR fo tpecnoc lanigiro ehT raluger“ eht ot snamuh gningila ot detacided secitcarp ot srefer yhposolihp cideV ]...[ cimsoc fo erutcurts eurt dna larutan ,reporp erofereht dna ,lamron eht fo redro won ”,secrof rehgih“ htiw eugolaid a gnihsilbatse fo yaw cilobmys a ecnO 1”.stneve detaler serutseg fo tes ro noitca detaeper a ebircsed ot desu ylnommoc si mret eht fo noisserpxe eht rof tsylatac ylno eht ton si noigiler hguohT .sfeileb fo metsys a ot .noigiler fo noitcnuf a sa detaicossa ylelos nefto era slautir ,sgnikatrednu citsilautir edistuo srovaedne laicos dna larutluc fo yteirav tsav a ni detalucitra si lautir ,tcaf nI stnenopmoc evah lla ,.cte ,sgnirehtag ylimaf ,efil emoh ,stropS .sdne suoigiler fo detalucitra ylhgih srehto ,citsilaudividni dna enadnum emos ,ytivitca citsilautir fo lautir ,secitcarp lautirips morf gnimmetS .sgnittes laicos ni decitcarp yldaorb dna demeed eb yam tahw ni secitcarp suoigiler remrof eht seohce seiteicos nredom ni ,erutluc y reve ni tnereffid hguohtla ,slautir lanoitidarT .tnemegagne laicfirepus a ni noitamrofsnart citarcnysoidi na gnitareneg fo ytilibapac eht dloh ,sselehtreven :ytilaer fo esnes s’eno

,)llits oediv( hkilhsaT erytnIcM nivlA 21:60 :TRT ,9102

eht rednu desuf ,denigami sa dlrow eht dna devil sa dlrow eht ,lautir a nI 2 dlrow emas eht eb ot tuo nrut ,smrof cilobmys fo tes elgnis a fo ycnega - er a :sevitcepsrep y ratnemelpmoc owt morf demmets y riuqni ruO a yb denrevog dlrow a ni ytilautirips fo noisulcni- er dna noitairporppa gnikat ,taht rewop fo smrof esoht sdrawot msicitirc a dna ,sucof citsilairetam tnanimod rieht sserpxe ,efil ni gninaem a gnidnfi rof deen s’ ytinamuh fo egatnavda etaerc-er dna ,tcane-er ot saw noitnetni ruO .ytiretla fo noisulcxe eht hguorht cigol .egdelwonk etanimessid dna ,revocsid ot ,dehs ot ,mrofsnart ot ,reffo ot slautir

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in speakers situated under the chairs, while the ink dripped from above onto paper below. The resulting ink shapes that were generated this way are to be interpreted as the answer to the specific question that was spoken.

Concurrently, Aurora was also working on a new video project called “Be Welcome in this Land.” This work originated from a reflection on the influence of space, seen as both psychic and material entity in the perception of life. When Aurora was visiting Tokyo for the second time, it was clear to her that she could not spend more than three days in the city without feeling overwhelmed.

Looking closely at this environment, she noticed how little space was left for nature in urban design.

Concrete was ubiquitous from the buildings to the streets, there was with no space left for grass or trees. This prompted her to think about the relationship between the capacity of the mind to decipher symbols and the natural environment as their source. She reflected on the artificialization that nature has been undergoing in the preceding centuries, which has deeply altered humanity’s relationship with the environment. Nature, once perceived as a respected force that, through signs and symbols, would guide an individual’s life, is now the colonized “soulless surface” that is being exploited regardless of consequences.

Perceived space contributes considerably to the comprehension of life, while constituting a reference to one’s position in the cosmos. The main contrast between the environment of the city and the environment of the countryside is the lack of non-human life within the prior. As a consequence, the environment of the city allows its perception as a blank space, instead of a living organism, increasing the sense of separation of the individual from the whole.

Tokyo, like many metropolises, consumes massive amounts of electricity, which is provided by nuclear power plants in the countryside.

dna oiR leD aroruA 141 erytnIcM nivlA241

gniviL ehT eht elihw ,sriahc eht rednu detautis srekaeps ni ehT .woleb repap otno evoba morf deppird kni yaw siht detareneg erew taht sepahs kni gnitluser cfiiceps eht ot rewsna eht sa deterpretni eb ot era .nekops saw taht noitseuq gnikrow osla saw aroruA ,yltnerrucnoC siht ni emocleW eB“ dellac tcejorp oediv wen a no no noitcefler a morf detanigiro krow sihT ”.dnaL dna cihcysp htob sa nees ,ecaps fo ecneuflni eht nehW .efil fo noitpecrep eht ni ytitne lairetam ti ,emit dnoces eht rof oykoT gnitisiv saw aroruA naht erom dneps ton dluoc ehs taht reh ot raelc saw .demlehw revo gnileef tuohtiw ytic eht ni syad eerht deciton ehs ,tnemnorivne siht ta ylesolc gnikooL .ngised nabru ni erutan rof ftel saw ecaps elttil woh ot sgnidliub eht morf suotiuqibu saw etercnoC ssarg rof ftel ecaps on htiw saw ereht ,steerts eht eht tuoba kniht ot reh detpmorp sihT .seert ro ot dnim eht fo yticapac eht neewteb pihsnoitaler sa tnemnorivne larutan eht dna slobmys rehpiced noitazilaicfiitra eht no detcefler ehS .ecruos rieht gnidecerp eht ni gniogrednu neeb sah erutan taht s’ ytinamuh deretla ylpeed sah hcihw ,seirutnec ecno ,erutaN .tnemnorivne eht htiw pihsnoitaler hguorht ,taht ecrof detcepser a sa deviecrep s’laudividni na ediug dluow ,slobmys dna sngis taht ”ecafrus sselluos“ dezinoloc eht won si ,efil .secneuqesnoc fo sseldrager detiolpxe gnieb si ot ylbaredisnoc setubirtnoc ecaps deviecreP a gnitutitsnoc elihw ,efil fo noisneherpmoc eht niam ehT .somsoc eht ni noitisop s’eno ot ecnerefer dna ytic eht fo tnemnorivne eht neewteb tsartnoc fo kcal eht si edisy rtnuoc eht fo tnemnorivne eht ,ecneuqesnoc a sA .roirp eht nihtiw efil namuh-non noitpecrep sti swolla ytic eht fo tnemnorivne eht ,msinagro gnivil a fo daetsni ,ecaps knalb a sa laudividni eht fo noitarapes fo esnes eht gnisaercni .elohw eht morf semusnoc ,sesiloportem ynam ekil ,oykoT dedivorp si hcihw ,yticirtcele fo stnuoma evissam .edisy rtnuoc eht ni stnalp rewop raelcun yb

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taht gniyaAurora s yb ffDel o tRio ratBe s lWelcome l’I ym fo raey tseizarc eht dnabsuH yM in this ta devirra ti sa noos sa dna ecno ta lla em ot emac reknub eht gnLand ivae(video l fo astill), edi e2019, ht TRT: 25:43 lennahc-elgniS ,02002 0,s:2ru1:oTnRaTem,oei defiivl saw ti wenk I ti nopu tca ot dah I wenk I ,snoruen niarb ym lla fo noitcesretni eht a ydoB siH gnikaM dE dnabsuH yM og ot emit rre toof ftel ym tup I thgir ym ti saw tuo gnidael esacriats eht fo pets latem tsrfi eht otno pu toof thgir ym saw ti kniht I reknub eht fo gnihtemos morf gnitraped saw I wonk ot hguone tsuj roofl eht ffo em detavele sihT nwod ylmrfi seot ym dednal neve t’ndah I deftihs reknub eht fo doom eritne eht tub otni sserp ot demees flesti reknub eht fo sllaw eht dna ,tnenimmi saw erutraped yM em ro yats ot em gniggeb fi sa ssenidruts rieht htiw em gnizilatnat

,oediv lennahc-elgniS ,02–9102 ,looT 00:01:TRT

rewop suodnemert fo esnes a em evag reknub eht evael ot gninnigeb fo tca ehT osla dna raef fo gnap elbirret a yas ot si hcihw reknub eht edisni dlrow eritne na detaerc dah I ymonoce eritne na retnirp nospe ym no em yb detnirp saw reknub eht fo ymonoce ehT htiw sllib rallod sti stnirp aciremA taht neerg fo roloc tcaxe eht htiw reknub eht fo tuo gnidael pets tsrfi eht no ylmrfi teef htob dah I emit eht yB ym revo decnalg I fi tniop taht ta rettam t’ndid tI .dnuora gninrut on saw erehT redluohs syawyna em dniheb saw tahw yltcaxe wenk I esuaceb hsac tiefretnuoc fo selip dna selip tsuj taht uoy ot timda dna daeha og ll’I tuB kool erom eno ti evag dna dnuora nups I boj ym tsol I emac ycnegreme eht nehW tnemom tcaxe siht rof gniraperp sraey tneps d’I esuaceb deirrow t’nsaw I tub kniht ot emit evah t’nod uoy dna semoc ycnegreme eht nehw tnemom eht ”deraperp m’I dalg m’I zeeg“ saw kniht dluoc I gniht ylno eht os ereht deyats dna dnuorgrednu tnew I

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yb deripsDaiichi ni saw awas rofl one larem hpe fo When esu eharriving T Fukushima ofethose. na efil( ihsone ieS enotices ceip ehthat t ni athe nablandscape eki fo noitiisdart eht atdNishiaizu rof tnemelby e hthe caEmany .uziaielectric hsiN ot towers etubirtdispersed a sa ,)htaed interrupted yliadthe ni hills. detcel“Be loc sWelcome aw noitallin atsthis ni eLand” ht fo tris ap siht among gnissapmby octhe ne ,Japanese stserof ehritual t hguoof rhtea t skceremony: law evitatidaem inspired eht niof echerbs neirepfrom xe ehthe t fomountain trap largetisnioffered na sa lato utir tea made sawelectric aremeh pe fowith esu ethe hT intention .noiger ehoft fwelcoming o sniatnuom the tower sgniht las la a,eguest. cnesseIn nIan .lautopical retil dnaattempt cilobmyto s htob a colonizer ,revew oHmissing .laremelink, hpe ethe ra eelectric srevinutower eht niis htiw re-establish the ytilaremehinstead pe ,napsofefrejected. il ’seiceps ruo fo esuaceb being welcomed eAs rofpattern-seeking ereht si tI .era ew ohw ot evwe itatend ler seto moceb creatures, enoour si lpsyche autir a onto gnisicour rexeenvironment taht eton ot as tnaiftrwe opmi project .tnem om eht from ni gniit. vil It this giltherefore hgih ew sonly yaw eht fo were fully separate lareobvious, mehpe eh t sreour tnuinterpretation oc ,tca na sa ,lof autiR natural, if .not that sathe lano itcnuffrom eb ,sswhich elehteall non ,nac arem ehpE naturea is source divinities and nevig yn a ta ,lauUniversal tir ro ,tca n a fo noitsuch atnesas erper their powers emerge. symbols sieS water taht gnand idnblood atsredare nu sprimary iht htiw examples, si tI .tnemom theihsun, .noitallainto tsni rauform o ot dof eddeistic da saw which have been incorporated ,egatirehor naritual. muh foHowever, weiv fo tnitioisp often eht mforgotten, orF celebration ussi-non aoutright, si anabekthat i lanwe oithumans idart fo nare oitaalso irpothe rppa or .eneglected ruthe tlucvery -ssornature c fo tnewe mtcelebrate neser ro/dand na rdeify. aef ehT productlaof ,ssethe lehtidea revenofdman na ,cvs itsinature labirt sis i nan oitironic airporppa Therefore, fo noof itpseparation ecrep s’ ytifrom namuthe h eknature iL .nain muwhich h y revwe osla illusion mointegral rf ssenepart tarapof. es eThere ht ,eruistamuch n morevidence f noitarapes a are an tonprostrations, si erutluC .nofferings oisulli naand oslasacrifices si namuhtorehto yna that yna ybseduce ,ylevitinorfieinfluence d ,denwothese eb nadivinities c taht gnihhave temos appease, .pusince org eno been a part of our collective human heritage noitalThis latsnprojection i na no detof aroourselves balloc oslonto a eWnature prehistory. nwoone t ni of y rethe llagcharacteristics lanoitnevnocnthat u namake ni dezus ilaer is, in fact, ,detanAgain, od saw within taht esan uohillusion denodnofabseparation, a na ni detathis erc human. .VAor INability ot ,rotto eircommune porp remrowith f ehtnature fo htaeand d ehour t refta need, ni dev reseisrpa skey aw catalyst emoh esfor enadeveloping paJ lanoitidwork art ehT environment na stceAnywhere ffe lanosrein p eour ht llexploration a htiw ,etatsoflaritual. nigiro sti for dProject eceip ehT .efil roirp sti fo seiromem gniohce smoor 1 Arie L. Molendijk and Peter Pells, ed., Religion in the Making: the snoitacovnI saw ecaps ralucitrap siht rof detaerc aEmergence etarobaofletheotSciences saw tofneReligion tni ruO .elbamannU eht ot (Leiden, Boston & Köln: Brill Academic Publishers, 1998), dn278. a repap morf gnitrats ”noitanivid“ fo dohtem 2 Clifford Geertz, The Interpretation of Cultures (New York: Basic Books, fo seciov dedrocer eht gnisu stnemetats dna ,kni 1973), 121. neveS .skramer cfiiceps gnicnuonorp stnediser lacol deyalp dna dedrocer erew snoitacovni lanosrep

aka dnabsuH yM dna elyoD azilE 145 yrreB akinnA 831 ,llits oediv( hkilhsaT erytnIcM nivlA 21:60 :TRT ,9102 ,)liated

The Living

gnivirra nehW .esoht fo eno saw ihciiaD amihsukuF si epacsdnal eht taht seciton eno uziaihsiN ta desrepsid srewot cirtcele ynam eht yb detpurretni si ”dnaL siht ni emocleW eB“ .sllih eht gnoma a :ynomerec aet fo lautir esenapaJ eht yb deripsni ot dereffo si niatnuom eht morf sbreh fo edam aet gnimoclew fo noitnetni eht htiw rewot cirtcele eht ot tpmetta lacipotu na nI .tseug a sa rezinoloc a si rewot cirtcele eht ,knil gnissim eht hsilbatse-er .detcejer fo daetsni democlew gnieb ot dnet ew ,serutaerc gnikees-nrettap sA ew fi sa tnemnorivne ruo otno ehcysp ruo tcejorp ylno erofereht si tI .ti morf etarapes ylluf erew fo noitaterpretni ruo taht ,suoivbo ton fi ,larutan dna seitinivid lla hcihw morf ecruos eht si erutan sa hcus slobmys lasrevinU .egreme srewop rieht ,selpmaxe y ramirp era doolb dna retaw ,nus eht citsied fo mrof a otni detaroprocni neeb evah hcihw ,nettogrof nefto si ti ,revewoH .lautir ro noitarbelec eht osla era snamuh ew taht ,thgirtuo detcelgen ro .yfied dna etarbelec ew erutan y rev eht fo tcudorp cinori na si erutan sv nam fo aedi eht ,eroferehT ew hcihw ni erutan eht morf noitarapes fo noisulli ecnedive hcum si erehT .fo trap largetni na era ot secfiircas dna sgnireffo ,snoitartsorp taht evah seitinivid eseht ecneuflni ro ecudes ,esaeppa ecnis egatireh namuh evitcelloc ruo fo trap a neeb erutan otno sevlesruo fo noitcejorp sihT .y rotsiherp su ekam taht scitsiretcarahc eht fo eno ,tcaf ni ,si siht ,noitarapes fo noisulli na nihtiw ,niagA .namuh ruo dna erutan htiw enummoc ot ytiliba ro ,deen krow gnipoleved rof tsylatac yek a si tnemnorivne .lautir fo noitarolpxe ruo ni erehwynA tcejorP rof eht :gnikaM eht ni noigileR ,.de ,slleP reteP dna kjidneloM .L eirA 1 noigileR fo secneicS eht fo ecnegremE ,)8991 ,srehsilbuP cimedacA llirB :nlöK & notsoB ,nedieL( .872 ,skooB cisaB :kroY weN( serutluC fo noitaterpretnI eh T ,ztreeG droffilC 2 .121 ,)3791

My Husband aka Eliza Doyle and Annika Berry 541

My Husband the craziest year of my I’ll start off by saying that siht ni emocleW eB oiR leD aroruA life i mean ours, 2020, Single-channel 34:52 :TRT ,9the 102 ,idea )llits oof edivleaving ( dnaL the bunker video, TRT:12:00

retaw fo stekcap munimula knard dna sdoog dennac eta I hu came to onreftaateht tneps dna hcamots ym edisni noitome na detacol I yad eno neht dna elbme aulall avnat i once and as soon as itnoarrived the intersection of all my brain neurons, I knew I had to act upon it I knew it was ti gniyfitnedi My Husband time sselesu tlef I timda dna daeha og tsuj ll’I pleW sti deEdnMaking igamiHis I rBody etawa deretlfi ym ta dto ekgo ool I nehw taht dnatsrednu nac uoy oS Tool, 2019–20, Single-channel video, dlog ni htrow-thgiew TRT:10:00 gnimoceb erew sgniht dnuorg evobA hcihw sIlaput iretmy am left esehfoot t llaerr gnoma devil I yad y reve dnA was it my right redriew retsasid fo snoitidnoc tcefrep eht rednu I think it was my metal step of the staircase leading out esrow hcum yas ot si hcihw sseright lecirpfoot emoup ceonto b yadthe enofirst dluo w bunker teef ym no kniht ot dah I wenk I os stcepsorp boj on erew erehT seno devol dna sdofnethe irf d na ylimaf ym dna em gnivas yllaitnetop tooknow I was departing from something yM neve ebyam ,oot sregnartThis s nevelevated e ,oot neme m noff evethe dnafloor nerdjust lihcenough dna nem w I hadn’t even landed my toes firmly down lufesu eb ot detnaw I dnabsuH but the entire elbignat gnihtemos ekam ot ycnemood gremeoffothe evabunker eh no-lshifted luf eht morf My departure was imminent, and the walls of the bunker itself seemed to press into sdnah ym htiw krow ot laitnesse eb ot detnaw I metsys me feileb a sa tnemtsevni no dednal I woh s’taht oS laitnesse gnihtemos od ot naem I rre as yifen begging om gnikme amtotustay oba or gnikniht detrats I woH tantalizing me with their sturdiness yenom nwo ym egairram ym morf hsac siht fo lla detirehni dah I ,elihwnaeM The act of beginning the gnihtpower emos ekam ot detnaw I tuB .hsac siht lla no gnittis dnuorgrednu saw I ereht os lavivto ruleave s fo tm aebunker rd regnogave l on me I a sense of tremendous ?hsac ekaf tnirp ot ti esu dna hsac laer siht dneps I t’nod yhw dias I os ecnadnuba dna trofmoc etelpmoc nand i ycalso negreme eht hguorht gnivom fo rehtar tub htlaew fo noihsuc edamemoha terrible ftos a nopang dnuoofrgfear eht edisni gnidih denigami I I had created an entire world inside the bunker which is to say gniyas yb ffo trats ll’I ko kO an entire economy gniyas yb trats ll’I won ko ko tuB The economy of the bunker gniyas yb trats ll’I seloh fowas deriprinted t gnittegbysame w I on my epson printer fles ym gniddehs ylwols saw I reknub eht ni gnivil saw I sa taht exact ecnadnuba fo ecalp a rehtar tub kcawith l fo tthe esdn im a color morf of pegreen rp ot dthat etnaAmerica w regnol prints on I its dollar bills with gud d’I taht eloh peed taht edisni gninekawa lautirips a gnivah saw I ekil hcum oot tlef tesdnim yticracs ehT By the time I had both feet firmly on the nfirst sreyal ym kcab llup ot gnitrats yllaer saw I dna oitcstep fi leading out of the bunker There was no turning around. It didn’t matter at that point if I glanced over my nus eht yb tsac thgil eht yb desuac wodahs a si fles eht fI shoulder thgil DEL hsieulb esuffid taht ni ,ereht nwod wodahs taht fo esnes lla tsol dah I gnilaeppa erom ti t’nsi ,thguoht I because I knew exactly what ewas noziroh eht dna yks eht morf yawa sdlrow lip abehind morf pme erp anyways ot just piles and piles of counterfeit cash rehtar ro naibihpma detlom ylwen a saw I ?eloh a morf naht But I’ll go ahead and admit to you that egats tcefrep a gnitibahni rotca elbatumsnart a I spun around and ggave niknitihone t er’more uoy talook hw wonk I gnipperp neeb dah I ,lla reftA taht gnikniht er’uoy When the gniniatniam esoppus I ro ni gnitsevni naem I gnipperp yb dna waemergency l eht si enil came taht dInlost a ,enmy il ajob dessorc I but I wasn’t worried because I’d spent years preparing for this exact moment ycnegreme rof htiaf fo tca na the moment when egnahc cihportsatac ni feileb a tahthe t gnemergency iyas yb woncomes trats land l’I oyou S don’t have time to think so the naF-ehT-gnittiH-tihS eht ytonly ilibisthing nopseIr could fo esnthink es wewas n a d“geez eriuqcI’m a evglad ’I I’m prepared” rojam emos evah I ,ehportsatac morf flesym gnitcetorp dnoyeb ,taht gnileef ehT I went underground and stayed taht ffuts eht otno gnidloh dna gniriuqca neeb dah I sraey rof efil ym fo yad y revE dlrthere ow eht ot ytud eb yad eno dluow gnihtemos od ot

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I Iate uh ate goods and aluminum water taht gniyas yb ffo trats ll’I ym fo raey tseizarc eht dnabsuH yM enod teg t’nseod ,ti od t’nod I fi ,hcihw gnihtemoS dncanned acanned mynodgoods uesp eand ht sdrank idrank )tnesealuminum rp–5102( dpackets npackets absuH of yof Mwater lennahc-elgniS ,0202 ,sruo naem i efil and day and invaluable and day emotion inside my stomach and spent spent the thetaafternoon afternoon devirra tei ksafnsoaows yseandonma echnt otath atlldaeettm httagh ntivoatenlofodaeepdpieetshtI ti od nac esle eno on esuaceb imodt aem I dancarerikantsubtserfi .y rrthen ethen B akone ione nnA dnIaIlocated elocated lyoD aan zan ilEemotion fo ecitcainside rp denmy ibmstomach oc 00:21:TRT ,oediv identifying identifyingitit saw ti wenk I ti nopu tca ot dah I wenk I ,snoruen niarb ym lla fo noitcesretni eht yenom gnitnirp si gniht taht ,em roF Welp So you can understand that when I looked looked at filtered water I imagined imagined its awater ydoB siIH gnikaM dE dnits absuH yM Welp,I’ll admit og ot eat mrmy imy et filtered sI’ll txjust ejust t ,sgo ogo edahead iahead v gnisand iand rpmadmit oc – eIrIvfelt ufelt eo useless suseless ’dnabsuH yM ,oediv lennahc-elgniS ,02–9102 ,looT weight-worth in gold selip htiw meht dellfi ev ’I dna seloh ym gud ev ’I segappils fo seires a si – secnamrofrep-erutcel 00:01:TRT Above And every day I lived among materials which Above rreall toothese f ftel materials ym p I which dlrow eht ni etalucric ot ytud ym s’ti won dna nateum sdohtground eground m gnitthings athings gorretwere nwere i ,tcbecoming ebecoming jbus dna rohtua neewteb weirder under the perfect conditions weirder riats tsrfioftadisaster ht tohtgnior ydm eptpiestaswI & lairetam dnuora snoitseuq dna noitaroballoc fo which whichisistotosay saymuch muchworse worse tuo gnidael esacriatesloehtafofopteutos ldaatewould mytm srfitone o Iptuah tototfpriceless dna riats tsrfi taht otno deppets dna toof ym deftil I taht refta oS h eeghotday todtanhbecome ntih ogpirtayhm t tsaawetni k nI idhnt aI .ymonotua citsitra There potentially saving me and my family and friends and loved loved ones ones Therewere wereno nojob jobprospects prospectsso soIIknew knewIIhad hadto tothink thinkon onmy myfeet feet reknand ub efriends ht fo and ogitrev yb emocrevo saw and too, even strangers too, maybe maybeeven even gnihtemos morf gnitraped saw I wonwomen k ot hgu onechildren tsuj roofland ehteven fforeekmen m tyam venleven eaesim hT ,sMy hMy tnom ,syad rof nepo seye ym htiw gnipeels ,rednu teef xis neeb d’I ekil saw tI nudbetoo, strangers I too, ,erehwynA tcejorP htiw raey ruo fo esruoc eht revO I Iwanted Husband wantedeto nwod ylmrfi seot ym dednal neve t’ndah I sraey neve cto itbe cbe aruseful puseful eht ni ylivaeh detsevni dnabsuH yM totomake from d the makesomething something eftifull-on hs reknheave urbiaeth ttsfroemergency tndeeephptettus bI eht ot em dael dluow taht sdlohtoof ro sdlohdnah eht dnfi ot dedeen I won dnA s of fidtoaohm t oetrnio htiw gnitartangible otangible balloC .msilaviv ruS fo y roeht & totowork my my otni sserp ot demees flesrtiarteskdnnuobceh fot snlolagwneiehbt tdonna r,otn miestah w oetrudtertarpaetsddynMa ecafrus s teh f eflneism ym kwork roY with wwith eN d nuhands ohands ra dna ni srepperP dna stsilaviv ruS I Iwanted So belief system wanted ti ssorca dna dethat’s nrael dhow ’I gnIilanded htemoson derinvestment ebmemer as Iasnaeahbelief t teum b system taerht to fto o be nbe eessential dessential rub eht tuo thguos dnabsuH yM ,ytiC err How I started thinking money errIsImean essential ro about yats otmaking em gnigmoney geb fi sa emean itiligatortofdo gdo nsomething isomething laever dnaessential pu gninepo fo snaem a sa ssenidruts rieht htiw em gn lactinhawt riats tsrfi taht otno deppets I oS my own money sih t isziih .sevles ruo dna ,metsysoce ruo ,yteicos ruo nihtiw Meanwhile,I Ihad hadinherited inheritedall allof ofthis thiscash cashfrom frommy mymarriage marriage Meanwhile, som there on,all this cash.

But wanted to to make makersomething something ewop suodnemert fo esnes a emI no evalonger g reknudreamt b eht evofaesurvival eh T riats tsrfi taht fo mroftalp eht otno pu deppets I ffl ooet ngonyinnaniegtierbwfroevtce at’n oD orf dIeIwas twas rapunderground eunderground d krow s’dnasitting bsitting suH yon M 0all 20this 2 gncash. irps nBut I IIwanted so there soI Isaid said spend to printfake fake cash? cash? ab complete ro htiw b ll’uoy othrough hw wonkthe t’noemergency d uoyoselsauadcnein fo why swhy eiredon’t sdon’t a otnIIispend stsilavthis ithis v rureal Sreal htcash icash w snand oand itaruse ouse bait lit loto c print so but rather ofemoving emergency in complete comfort comfort and andabundance abundance raefground fo gnaebpon rsoft roeht whomemade ahomemade cushion riats tsrfi taht otno deppets I lel’lubaaoiysoft -fles fo seiteixna & seisatnaf eht otni snoitarolpxe I imagined hiding inside the on cushion of ofwealth wealth Okok okyI’ll I’llstart off by yas ot si hcihw reknub eht edisni rdolfrodw tauerocy dnaehwI toof ftel ym thguorb dna lroewrietn hteenka tdsiem M .ystart cnegoff rem esaying gsaying niogno fo etats a ni ycneicffius Ok by thgir ym ti saw ro dylm roowneohcet feoridtnee enhat :ycnegreme-tsop flesti setautis won krow s’dnabsuH But ok ok now I’ll start by saying I’ll by retnirp nospe ym no Iewas m ybgetting detnirp sawof reholes knub eht fo ymonoce ehT toof thgir ym saw ti eveileb I tired ehstart tstart stihby ylsaying ssaying uounitnoc tihs eht erehw noisnemid a ni I’ll thatasas living slowly shedding myself self htiw sllib rallod sti stInno irp longer aciremwanted A taht nto eeprep rg fo from roloc atcmindset axe eht hof tiw ftel ym ot txen pu thguorb I taht eno eht lack stIeIwas swas dniliving m rekin nin uthe bthe erbunker ebunker hw ;)gnIIowas lwas a llaslowly sah tishedding sa( naf my that mindset of lack but but rather rather aa place placeof ofabundance abundance was spiritual thatI’d I’d dug dug saw I ereht llew os The scarcity mindset felt too much like hthaving ahaving p a ylnaaospiritual gnivael ,awakening sawakening u deliaf syinside ainside wla/ythat dthat aerldeep adeep evahole hholethat I Iwas like andw really to back my reknub eht fo tuo gnidael petfiction s tsrfi eht no ylmrfi teef htob dah I emit eht yB ti yas I od woh ewas n oreally tn i – dstarting nstarting uorg ehto t fpull opull tuoback dnamy p u layers rlayers o – draw rof and I Iwas the caused by cast by sun ym revo decnalg I fi tniop taht ta rettam t’ndid tI .dnuora gninrut on saw erehT teef owt ,hu htiw si tself aself hW ishadow rutuf evcaused itcellocby tuthe othe balight glight nikncast iht fby o sthe ythe awsun IfIfthe isis.ayatshadow had sense shadow down there, in diffuse blueish blueish LED LED light light redluohs riats eht no ereht ?esplost ylost lacall oall pasense eht roof fof dthat lrthat ow eshadow ht ekatsidown m ew nthere, ehw ekin atthat sthat ta diffuse I Ihad I thought, isn’t it more appealing worlds sky the horizon syawyto na prep em dfrom niheba spile aw tahw yltcaxe wenk I esuaceb sredluohs ym ,kcen ym ,spil ym ,ecaf ym ,daeh ym ,ereh pu sdnah ym truaway haway dnafrom sfrom u plethe hthe nosky itanand iand gamthe i fohorizon seruliaf ruo od woH worlds wasaanewly newlymolted moltedamphibian amphibianor orrather rather c tiefretnuoc fo selip dna selip tsuj rehtona eno ediseb ,teef ym ,ereht nwod dna ?ylevitcelloc su I Iwas than fromhsaahole? transmutableactor actorinhabiting inhabitingaaperfect perfectstage stage taht uoy ot timda dna daeha og ll’I tuB riats eht ,taht rednu dna aatransmutable ool eryou’re om enthinking o ti evag dna dnuora nups I reknub eht ,kcab rehtruf dna I knowkwhat Afterall, all,I Ihad hadbeen beenprepping prepping hsac eht ,reknub eht ni dna you’re thinking that After andby byprepping preppingIImean meaninvesting investingin inor orIIsuppose supposemaintaining maintaining bojaayline, m tsoand l I ethat mac line ycneis grthe emelaw eht nehW taht uoy ot timda dna daeha og tsuj I dluohs yenom ekaf eht yas I dluohs ro crossed line, and II crossed and that line is the law anact actofoffaith faithfor foremergency emergency tnemom tcaxe siht rof gniraperp sraey tneps d’I esuaceb deirrow t’nsaw I tub em eveileb uoy did ro ,taht timda ydaerla I did ro ,tiefretnuoc saw ti an beliefinincatastrophic catastrophicchange change kniht ot emit evah t’nod uoSo y dI’ll na sstart emonow c ycnby egrsaying eme ehthat t nehw tnemom eht hsac fo sdaol dah I uoy dlot I nehw So I’ll start aabelief now by saying that theShit-Hitting-The-Fan Shit-Hitting-The-Fan ”deraperp m’I daI’ve lg macquired ’I zeeg“ saaaw knisense ht dluof oc responsibility I gniht ylno eht os I’ve acquired new the new sense of responsibility ???yhtlaew mees I diD The feeling feeling that, The that, beyond beyond protecting protecting myself myself from from catastrophe, catastrophe, II have havesome somemajor major Everyday dayofofmy mylife lifefor foryears yearsIIhad hadbeen beenacquiring acquiringand andholding holding onto onto the the stuff stuff that that ereworld ht deyats dna dnuorgrednu tnew I ???deraperP duty to to the the Every duty world wouldone oneday daybe be ?ekaf saw ti taht dettimda I erofeb flesym rof llew gniod neeb I daH to do do something something would to

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My My Husband HusbandEd EdMaking MakingHis HisBody BodyaaTool Tool (detail), (detail), 2019–20, 2019–20,Single-channel Single-channelvideo, video, TRT:10:00 75451 TRT:10:00

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ehT ecnessetniuQ Something ecaps on which, si erehtiffiI n don’t ehw rdo o eit, rehdoesn’t w noitsget euqdone eht ot gnizagrhautS ecnessetniuq eh T aderB alemaP retawMy fo sHusband tekcap m(2015–present) unimula knardisdnthe a sd oog dennacand eta I pseudonym 00:70:10 :TRT ,9102 ,)llits mlfi( because .flesti eno mione t fo n else oitacan erc do ehtitsi gnaB giB ehT .emit ro gnirettacs srats fo ftir yklim ehtI w as I emionto t tsrfithat eht first ,thgistair n ta n ageIbadmitted heclrbaaeuslearvythat ts ym edispractice ni noitom na deDoyle tacol Iand yadAnnika eno neh t dna stepped and nM i the money was fakenoonrefta eht tneps dna hcamocombined ofeEliza Berry. ecnessetniuq eh T aderB alemaP Fortime, sawthat gnolthing woh :is noprinting itseuq eh money t ot esnes on si erehT gnidnetxe tluav krad eht ta kool I emit y reve ,tnemom taht ecniS .yks eht hguorht ti gniyfitnedi 00:70:10 :TRT ,9102 ,)llits mlfi( eht htiw nageb emiT ?deneppah gnaB giB eht erofeb weivstniodegndigeatm ahi tI froetsaew rudtceirpetslsfieylem mtiat odtenkiodonl eIln beshnwoittaahvtredsnbaotsyrm lau,h EoeyvoS ba sselesu toeuvre lef I tim da dna daehvideos, a og tsutexts, j ll’I pleW er edln ntarcau My Husband’s – comprising ecnessetniuq eh T aderB alemaP I’ve eredug hw my :noiholes tseuq and eht oI’ve t esfilled nes on them si erwith ehT .piles gnaB giB eht tuoba rednow ot trats I dna segami fo aes a htiw sdoofl ddnliomg ynM i h.tyrxoawla-tghrguieowfo lecture-performances – is a series of slippages 00:70:10 :TRT ,9102 ,)llits mlfi( and .erenow hwyit’s revemy den duty eppatoh circulate tI ?neppain h gthe naBworld giB eht did nonemonehp y reve taht knihht coithd in a seaswehI t,dlllaihgcnaom saawdIeevcilnIisyaredvyEre.evseredvniA nu nimsubject, oceb ereinterrogating w sgniht dnuomethods rg evobA weshIlsamean reottasm between authorgand yxalag y reve ,esnes a ni retnec eht ta si htraE ehT elbarusnemmocni morf gnillevart tIhstepped gil hguoonto rrhetssauthat csaneoristair red& riew sisdefhofirst teisdrneovcintcueferehpt enhitgrneidtsniuxe of collaboration and questions around material So after si dthat na erIelifted hwy remy ve sfoot i retand nec estepped hT .retnonto ec ehthat t ta sfirst i stair and sgniht yawa sraey-thgil fo snoillimand ,yksI tknew hgin eat htthat saowcIeIbhad elyiahdW .soecdmy nluaothead swid out of a hole esrow hcum yas ot si hcihw stsaeglen ciikropoelthat m point toen get artistic autonomy. wasseovercome unitnoc eby srevertigo vinu eht sa esuffid erom gnimoceb eht ni demrof seixasleangodd neavsorlad tsnraieshdtnd tataof ryemredwnsaten repw teef ym no kniht ot dah I wenk I os stcepsorp boj on erew erehT einru f odrnaagynlim malgPn.igvn asinyelp lapitanheeto It was like I’d been six feet under,.losleeping oc dna dwith napxmy e oteyes open for days, months, meerdfolihscnodingaerntesm ekorw ad yM neve ebyam ,oot sregnartIsmean neve ,my oot bunker nem .neecvaepsdyntapn Over the course of our year with Project Anywhere, even sreyears tsulc tnaig yb detibahni si esrevinu ehT ,ssenitpme na ti sI ?sgniht neewteb esnapxe eht ti sI ?esrevinu eht si tad hn WabsuH fesupractice eb ot detnaw I My Husband invested heavily inluthe And noinow llib aI fneeded o etarem toolfind gnocthe a yhandholds xalag hcae or ,sefootholds ixalag fo that would lead me to the ruo rof lessev a ?ecnatsbuIsstepped lairetamonto safirst lbignat gnihtewith mos ekam ot yacntiesthat gIre?m emfaorstair edvraueoh rnoof-ellguaftes htn t amcoarvfa & theory of Survivalism.eCollaborating surface na sah ,yxalag ruo ,yaw yklim ehT .srats noillirt a ro eht tuoba wonk ew tahw niand detn evni sito tah w dnmyself a laer sfor i tanot hWbeing ?secnon eirthe epxesecond stair sdnaround ah ym hNew tiw kYork row ot started hate Survivalists and Preppers in and aitnburden esse eb oof t dthreat etnaw I andeW across .sratits fo snoillim fo eroc esned ylbamohtafnu ruo fo noitarugfinoc em htetnsiyyslbut tbsiaxesaItiremembered netvseevh shI s?learned fneoilsethen tnfiem ngi u non something deeldaneraltiI tw’noI’d ’etasrhetvoinSu City, My Husband sought out lthe laitneup sseand gnihrevealing temos od ofragilities t naem I rre tuB .somsoc eguh a edisni tenalp llams a no dnats eht dna nus eht deweiv sremonortyseantonm eigcnaikoagma tsuraoebyafgonsid oh knaihstud etTra?tssth I gwuooHht as a means of opening So,oIgastepped seirutnonto ec ynthat aM .first tneitstair nes er’ew dna evila er’ew gnivil eht fo stelbat otni selat lausiwhich v dev raisc this yehT .sdog laitselec sa yseindoom b ynlw noevyam eh within our society, our ecosystem, and our selves. egairram ym morf hsac siht fo lla detirehni dah I ,elihwnaeM tuoba rednow dna yks eht ev resbo ot detrats ew eht hguorht esrevinu eht weiv ew woN .stenalp dna ,srats ,snoinapmoc sti dna nus I stepped etagiup tseonto vni otthe stnplatform emurtsnioftlthat iub efirst W .sstair terces sti tuB .yks eht ni ees ew tahw rof snDon’t oitanaever lpxewrite tneranyone effliadvievvroff auhs efowtd gnihtemos ekam ot detnaw I tuBIn.hspring sac sih2020, t lla nMy o gnHusband’s ittis dnuorwork gredndeparted u saw I erfrom eht os mnaae,redzraeggcnfioiltn oenicI s ?hsac ekaf tnirp ocollaborations t ti esu dna hsawith c laerSurvivalists siht dneps into I t’noadseries yhw dof ias I os sepocselet detniop ew .nwonknu eht fo htped eht ?hlgleuwowho rbe afno erseehhor ecnadnuba dna trofmoc etelpmoc nbecause i ycnegyou remdon’t e ehtknow rshat sgeyou’ll nvivtaorm with ttart’tnuebra I stepped .nagebonto lla tithat erehfirst w eestair s ot yks eht ot setilletas dna ,stnehvetlafoewrefbomnuon naesmtsoohwho hftto i you’ll tsaahn t o,ebe tinufionrigsieh estreedvisnnui eghntidyiahs dyen hiTgami I ihestuicnfien diam d explorations into the fantasies & anxieties of selfanddnbrought uorgkcamy b cileft msofoot c eht fo langis eht derutpac eW no sgnieb tneitnes fo rebmun when etinfin i namistake ebyamthe ,stworld enalp for fo rebmun etinfini na gniyas yemergency. b ffo trats llMy ’I ko kO you sufficiency in a state of ongoing or was erofitebmy emright it tuoba noitamrofni gniraeb ,noitaidar eb ot sa htraE ekil ylraen y revthe osend tenof alpthe a eworld bgntsiyuam s yebrethrtatyslellr’uI Sw.osnteknoalkpoetsuoBht Husband’s work now situates itself post-emergency: I believe it was my right foot .efil cinagro sti ecreip ot tnaw em sekam tI .ytinfini siht erimdasIe.ltoihmfordf eerlibtaghnsiituteggnistasw idn gniyas yb hits tratsthe ll’I Ii in a dimension where the shit continuously fles ym gnifan dde(as hs it ylw olsall saalong); w I reknwhere ub ehtbunker ni gnivmindsets il saw I sa taht the one that laciInbrought hcet htiwupsrnext ev resto bomy tsuleft j era eW T .aerm ocorsftipoetrphgout odrehttnlalw af rdenganoelco afnruI s ecnaladnnouibsanefomeicda-leperahrteA ht.aercatupbs skiceasl rfeovtin esudenhim has o sotnwell i tuothere raf ylIewas tinfini ees tonnac ew dna ,stniartsnoc dna htron ruo si tI .skcolc ruo no ssaepkhilch tacw ewoeom ni yetviiclreaw gud d’I taht elohhave peedalready/always taht edisni gnfailed inekawus, a laleaving utirips only a gniavapath h saw I um t tilteef htet sddnnaim cseechaTps how dedo llevIasay rt saith thgil sa raf sa ees ylno nac eW .ecaps a si ecapS .erutuf ruo dna tsap ruo ,nwod dna pu ruo ,tsew dna tsae ruon,ohitu sre–yaor l yup mk cabout llupofothe t gnground itrats yl– lainto er sanew w I dna cfios forward and with y ruh, t ewtwo elihfeet W .esrevinu eht fo gninnigeb eht ecnis ,nus eht ,srats ehT .noitcartta lanoitativarg hguorht devaw noisnemid lacisyhp nus ways eht yb sac thgil eabout ht yb collective desuac wofuturity. dahs a siWhat fles eh oftthinking ist fI thereew on,dthe ne estair tamitlu ruo fo erutan eht enimreted ot evah lla yeht esuaceb nosinu otni thguorb egrnaillalaep,ypdaoebronm wotirtu’o ieowhtehI t thgil DEL hsieulb esuffid taat htstake ni ,erwhen eht nwe womistake d wodahthe s tworld aht fofor esnthe es apocalypse? lla tsol dah I nsfio,thgu myyhands tivarGup .sghere, ninnigmy eb head, nommmy oc rface, uo remy hpilips, ced ymy lwoneck, ls my shoulders dlefi a setaerc ,egrahc cirtcele na ekil ,ssaM .nommoc ni noiteclaiprtatamlaonrfoipteartpivo artg oziroh of ehimagination t dna yks ehhelp t mous rf yand awahurt sdlrow How do ournfailures and snodown isserpthere, xe tnemy reffifeet, d lla beside era ygrone ene d another na rettam dna ni depraw ,erutcurts a si ecapS .ecaps dev ruc a fo mrof eh?tenloi hseaidmoobrd orta rehtar ro naibihpma detlom ylwen a saw I f nu ah us collectively? and under eht fothat, yllacthe isnistair rtni lla er’eW .gniht emas eht fo .emafl a ni gnilruc repap ekil ,ygrene dna rettam fo ecneserp eht ot esnopser egats tcefrep a gnitibahni rotca elbatumsnart a and a tsfurther uj si esrback, evinuthe ehtbunker fo cirbaf ehT .ecnatsbus emas gniwollof ,eert eht fo llup eht morf esool gnikaerb yb hgtrnaiE kneihhtt neo r’ulloayf stealhpwpA wonk I andekinam thetabunker, ht sdaerthe ht ecash mas eht morf evaew tnerehoc eht fo ecafrus eht litnu ,ecaps dev ruc ylbisivni na gnola ecnatstiashetr gtsnaikelnfiohthetra’puoeyht gnipperp neeb dah I ,lla reftA gniniatniam esoppus I ro ni gnitsevni naem I gnipperp yb dna or should si retaWI say .retathe w yfake ltsom money era sshould eidob ruI O just .sego idoahead b ruo and admit to you that yb nus eht tibro stenalP .llits yats ot mew htalseh crtosfi denail ltlah f trideh nta s,etpnuilraredtn esi stoerncalIp ycnegreme rof htiaf fo tca na it ;was ecapcounterfeit, s era ew noisornedid txe Iyalready b oS .ecadmit aps ytpthat, me yor ltso did m you believe me ssam yna dna ydob ynA .ev ruc larutan rieht yb denfied htap lacitpille na gniwollof 1 when I told you I had loads of cash .esrevinu eht era ew ,llup tuohtiw yleerf llaf lla eW .ecaps dev ruc a gnola etach ntatgsnisiyear stsyabelwfoonhttraaptseh egnahc cihportsatac ni feileb a llt’IeokSat iseivsnwi e,lnaraudtaen naF-ehT-gnittiH-tihS eht ytilibisno.epvsreurcfo,eelbsn riusiqhctagenvo’Ila seirotS ykS Did I seem wealthy??? il reomto i sffoevpam ragenwitecm itrd roejavm h uI j,eto hn pn oratcsaeW tac.omt odrnf ufloebsyem eto pndaneocyaepbs,etahhttsgi nsih leTef ehT rap ecneics lanoitav resbo eht si scisyhportsA taht ffuts eht otno gnidloh dna gniriuqca neeb dah I sraey rof efil ym fo yad y revE Prepared??? elpoeP .emit-ecaps dev ruc ruo fo tnetxe tsav eht ,esrevinu ruo sidslirhoTw .etihftooetdyitsutu do ylladoing cisyhpwell tonn acmyself stsitnebefore ics ecnIiSadmitted .ecnellecxthat e it was fake? gninaem on si erehT .gnihton si rewsna ehT .esrevinu eht edistuo s’gtn Had I been for eb yad eno dluow ah ihwtekmsoassoydaw otla

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The Quintessence ehStargazing t rof serutaef yek era noitazilausiv dna noitav resbo ,seixalag dna srats hcuot toethe nodquestion teg t’nsewhere od ,ti oor d twhen ’nod Iiffithere ,hcihisw no gnispace htemoS teyhntsoedaueehsp t eezhytlasn ti–rc51o0t2r( eddnraobnsiusHkryoM wtra elpitlum polPamela eved oBreda t 3 The quintessence dnacim i )atnylelsaecrip (film still), 2019, TRT: 01:07:00 ehlbt id research sseottpim tidsaibegan w oh ntauhetfirst hottn tutime the onmilky k namrift uh fof o tstars nempscattering oleved or time. The Big Bang istithe od creation nac esle eofnotime on eitself. suaceb canpAs drentaueolyfooD y razniilgEam oc dna ekaf saw yenom eho t t aMy Id naturatiBanight, t.sestrservfiithe oodbeapeIpgsaw edteslIw .y rreB ak.ein foielcaiutcsiavrpehdtefnoibsemru octaef detaler-tnetn Pamela Breda The quintessence through the ?esrsky. evinSince u eht that fo snmoment, oiger tnatevery sid tsotime m ehItlook ni gnatinthe eppdark ah s’tvault ahw wextending onk There is no sense yeto nothe m gn question: itnirp si ghow nihtlong tahtwas ,emitroF (film still), 2019, TRT: 01:07:00 y ranabove igami lEarth, ausiv eall ht my gnirobservations olpxe hcraeseblend r mretinto -gnotimeless l aresi ”ecn pictures essetniuofQthat ehT “edge on view before the Big Bang happened? Time began with the ecaps retu o fo sevitarraN ,stxet ,soediv gnisirpmoc – ervueo s’dnabsuH yM of our ,smgalaxy. lfi latneMy mirmind epxe floods ylemanwith ,skraow sea traofaiimages demitluand m hIgstart uorhttoecwonder aps retuabout o fo the Big Bang. selip hThere tiw mis ehno t dsense ellfi evto ’I d the na question: seloh ym where gud ev ’I lasceigoalpopnih sc-eisryuhtcpeolrtsa ,y rutnec ts1Pamela 2 ylraeBreda eht The ecnquintessence iS lscfeot saegirneiscnaesiire–psxeecneaembrsoafrhep .kuniverse. oob s’tsitEver ra na since dna sIgn was idroacchild, er oidu I awas ,snastonished onitaaellm atsI ni cto fiicthink eps-ethat tis ,severy hpargphenomenon otohp did thedBig lrowBang eht nhappen? i etalucrIt ic happened ot ytud ymeverywhere. s’ti won dna epgoncsitealgeot rlrueftrnew sihtn dtaecbed eerht tsal eht(film nI .still), htwo2019, rgreTRT: pyh01:07:00 sdoo ht esm i ,otcpetjh bguus odrnbasrto tueaicnseseew existing eht ,sen inilthe picsuniverse id nereiawtstereaches onbo fdoegpnpilight eht dna srfrom evossincommensurable orc hguorhT The Earth is at the center in a sense, every galaxy n&oolaM reohitaorotbasellboocrfpo tnes dna htraE eht dnuora tibro tbsrsfieitraahdus tnoutthrough estasreI travelling ireethatmsadh ncuuosrasesindooib tsleauitqsedlneac n aerhraynmxetelpgm While c aahsIIawas vtn inio upeh thftothe o night edsenrapmillions er lausivofselight-years hcaorppa taway cejorpthings dna riats tsrfi is tat ahthe t otn center. o deppThe ets dcenter na toois f yeverywhere m deftil I taand ht reisfta oS dna stcejbo s’ecaps retuo fo seg.yamoi n doeltiuaatecdityslietrm eloh a fo tuoevditadistances. otod teashrtelooking taat tsanw eitnaktnIsky, a ertxe ekat ot redro ni ,sraM dna namuwere h dnhappening. a sutarappa Planets lacigolowere nhcetrotating fo ycnegaround a denibtheir moc stars eht hand guorgalaxies ht detcuformed rtsnoc in the becoming more diffuse as the oguniverse itrev yb econtinues mocrevo saw stenalp ,sretsulc yxalag ,srats fo segami erimda nac ew ,stsitneics-non sA .stneve darkest regions of empty space. .noitnev,rsehtn tni om ,syad rof nepo seyetoym expand htiw gand nipecool. els ,rednu teef xis neeb d’I ekil saw tI vetwcoejH SE reknub ym naem I ,ereehw wy,rneA or.POh tiwdnraeA y SrA uoNfsoaehscruos cseihctnreegvaOecaps yb decudorp sdioretsa dna racsO 2”,sWhat rats eh ist the ta guniverse? nikool eraIs suitfothe emexpanse os tub ,rbetween ettug ehtthings? ni lla erIs a eitWan “ emptiness, The universe is inhabited by giant clusters sraey neve gn reew t naebhswuH snyeM ppah yllautca tahw fo erawanu era ecitiitbcraorpneahfo t nroi synlievsaelu hfd tsoepvneh id selgguartvacant s yliadstage ruo rofor f roour hripaatdramas? rtuo od,esiprpeettsusubstance? ylsuom ed litWot em dael dluow taht sd itotcanfomaterial forafour eh oflogalaxies, htoof ro each sdlohgalaxy dnah eahconglomerate t dnfi ot dedeeof n Iawbillion on dnA dellatsnh i triawegglnaictainro ah itsailawvoivhru roS,yfoxaylraogethnta& tsid a fo erutcip a sekat epocselet stetm srfia t,eashIs Ig ehT .detaatsvessel bcaellm oCy.nm em eebhetcnaopsgn foieebcWhat n disfefreal hletsoytand niegtwhat n ikotois L .thrtaatps d runoain nowhat dnfi we ew know selcatabout sbo ehthe t dna or a trillion stars. The milky way, our galaxy, has ecafan rus .nroY isowlepN xedanvuoonrraepdunsa tnniastrseid hS s nac iiawaH ni noitats oidar a no riats dsn ocoecsexperiences? toantsrio m ah deinvented k ppaefroP edgnaamsitesihlat veipvaru .runiverse? etd aerngragenlih t’Iem oih sreal trenough u em kaifem o ft ilpconfiguration u nac taht noiof tcaour na Isn’t the unfathomably dense core of millions of tstars. i ssorcWe a dna rorusbseerhptethutootthdgeutousbdirntasibdsureHveynMer,yatieCcaps morf derutpac atad war ehT d gnit tfeom oaspdlereefbseven m ritIdexists nneahstlu tonly uobs ruin tadeerhhstilfb ounped ,tsomerof Thousands dna tsrfi ,tnof aem sahago yksancient eht ta gastronomers nikool ,y rotsiviewed h tuohgthe uorsun hT and the thoughts? years stand on a small planet inside a huge cosmos. But seitiligarf gnilaever dna pu gninepo fo snaem a sa .tamrof lanigiro rieht ni enilno .noituheavenly love erutbodies uf sti das nacelestial snigiro sgods. ti tuobThey asighnticarved ,erutatales n sti into tuobtablets a gnitalof ucthe eps living visual we’re alive and we’rersentient. iats tsrfi tMany aht otn centuries o deppetago, s I oS r.seedvrloesnriudoetdanluap,m inaem s era yeht ,y rartnoc eht nO srei d hn ciohww tsyyslolacu e sriuvod,nyatediceotisdreuyolgnnihotritw desun rorrand im sits yawcompanions, la evah esrevstars, inu ehand t fo splanets. noitatneNow serpwe er laview usivthe ,ecnuniverse euqesnothrough c a sA the we started to observe the sky and wonder about eht otni demrofsnarT .cilbup lareneg eht fo eye eht ot gnilaeppa erom emoceb ot eht scientific deiduts segaze, rutluand c tnewe icnhave irteilvoept’noeD ve dn a lwhat aicos we ,larsee utluinc cthe fiicsky. eps But for its secrets. riats tsWe rfi tbuilt aht foinstruments mroftalp ehttootinvestigate no pu deppets I nmooitrifddneetrradpeezdiraklruopwop ceHbyyM eh,t0,2w0o2ngknoirtpdsensu ffAo .esntxdifferent oeytnnaoectilrawcexplanations s’daneam bosu I era ew segami yssolg dna ynihs earen’t ht dem nnarratives aerbt lyl’euhoT tw nwell? ewvoenyklht’tnroadehuodyneastusarecedbnu retteb ot yaw a sa snevaeh as the depth of the unknown. we pointed telescopes .sbafo l csfieitrneesiacsoetntoi m rosfn reopitsaersosbeaclolorcp noitazilausiv xelpmoc ylhgih fo rthese orohftsiw y o.sh stesrilaevdiivsrnuiSdehm tiw desu yeThey hT .sdsay og the dnauniverse slamina is ,sninfinite, amuehb flo s otnian srainfinite ts fo nrnumber ettap moof dnevents, ar and satellites to the skyrto iatsee s tsrwhere fi tahtitotall nobegan. deppets I sospeoirspat”neacfneehstseottnniiusQ hxceraeser desab-citsitra na sA lthat ’usoeypit oahhhosts w -fleslafn o isgeiritoen ixansae& noeihtaTr“ol,p ,segA an eldinfinite diM ehtnumber nI .saesrof hteehttmaybe aegkiavtasnimd nuaoinfinite l snumber sorca klaof w sentient ot snoitabeings lletsnoon c an We captured the signal of the toocosmic f ftel ym background thguorb dna eteuicoffifousy ranigami lausiv eht ot hcaorppa ohfgplanets, dulo rorw ysd nn ehaw yM .ycfnoegnrieameodgneihotggnnoirfoleptxaets,eacanpi sycrn ,htthose raE dn uora gnSurely itator sthere erehpmust s tdnlerorbe awpesahnplanet eeihrvery a devielike cnoEarth c saw as ykstoeh t planets. be radiation, bearing information about thgtime ir ymbefore ti saw ro ed vesh tafrot dfonesso tes a snearly :ycgnneisgsraep mm e-otcsn oep-fhlteusrtit sfo etyatuixtifis ewhotnsk roaw ’dcnihaw bs,umHetsys gnivlove na sa scisyhportsa dnaindistinguishable oelilaG ,ecnassianfrom eR ehit.t gI nadmire iruD .ethis sreviinfinity. nu eht fo etnec eme ht twant a eb oto t dpierce eveileits b It rmakes organic life. toof thgir ym saw ti eveileb I .stnemetats eht stih ylsuounitnoc tihs eht erehw noisnemid a ni swal lsurface acisyhpand eht ffall o gn idnatsretodnits uw en aThe deduniverse ivorp snois ituspace. lover cAfiithree-dimensional tneics s’notweN through core.

We are ftejust l ymobservers ot txen puwith thgu technical orb I taht eno eht syrhepkonru tsba elraerh evwes;)gon t otslaislilvaeshathdtni u a adferutcurts saw tcejorp ehT stesdlanciim sao(rn selddirspace dna swe eirolive ehtin mand utnathe uq ytime raropwe mewatch tnoc opass t yawonehour t declocks. nepo dIt naisesour revinorth nu ehtand fo constraints, and we cannot see infinitely saw I erfar ehtout llew into os lahutsaipv-aoiydln uo a fgonn ivoaietlcu ,sduodrped lieatfaslyearwelhat/yddnaaeA rlSaUeveahht dna eporuE ni sretnec hcraeser .ygrfuture. ene kraSpace d tuobisa a south, our east and west, our up and down, our past and our space. We can only see as far as light has ti yatravelled s I od woh cfiwietneoictn s id–eddunlucoersgyelhhgtifhoftoun rorsonf es a gnitareneg ,noitatnemucod ooditnaatnpeuserorp–erdlraaiw stnerphysical efer yek dimension eht emocebwaved evah ythrough ks eht fogravitational snoitatneserattraction. per lausiv ,The syadstars, awoN the sun, since the beginning of the universe.tWhile eef owtwe ,hu try htiw snikonitiahctofloestyoam siethathoWt e.ylb tiirsusteucfcaevtiotn ceyllolacutsuuod bn a agn wer ni detautis nefto ,seirotarobal retuothe fo weight scimanof ydour lairown etambody, ,lacisall yhpare ehbrought t tuoba sinto esehunison topyh fbecause o noitaluthey mrofall ehhave t rof to determine the nature of our ultimate riats eend, ht nwe o ereht s?tsesicpiyslyahcoppoarteshat droeftcdelrloew s heh titwekdaettscim udenwocneshwweievkraettsntiaoidua fo seires A .cilbup lareneg srats fogravitational segami lufrolattraction oc dna yniin hscommon. s’epocseleMass, t elbblike uH han tiwelectric railimacharge, f lla eracreates eW .ecaapfield s sredluohs ym ,kceslowly n ym ,decipher spil ym ,eour caf ycommon m ,daeh beginnings. ym ,ereh puGravity sdnah ym rtireuhht dhntiawsuslpau vioditnainsiagasm tsiitfn amitni na sedivorp sreenigne dna ledhin o esiecrsulfioaftriaurotroodpweotH slootaround lanoitavbodies resbo dinecthe navform da ylhofgiahcurved fo elpmspace. axe tceSpace frep eis htaestructure, ra yehT .sewarped ixalag din na and matter rehtand ona eenergy no edisare eb all ,teedifferent f ym ,ereexpressions ht nwod dna .snoitiutni evita?eyrlcevditncaelsloaced sui ,egdelwonk dnuorgkcab euqinu fo snresponse oiger tnato tsithe d tsopresence m eht taof komatter ol ot stand sicisenergy, yhportslike a y rapaper ropmecurling tnoc ybindaeyflame. olpme of the same thing. We’re all rintrinsically iats eht ,tahtofrethe dnu dna depoleved neeb sah stisiv eseht gnirud decudorp lairetam lausiv-oidua ehT yeht od tahApples w dnA ?fall deton aerthe c seEarth gami eby sebreaking ht era yltcloose axe wfrom oh tuthe B .epull sreviof nuthe elbtree, isiv efollowing ht same substance. The fabric reknof ubthe ehtuniverse ,kcab rehistrjust uf dana shpargotohp ,smfl latnemirepxe fo seires a ni segats tneuqesbus fo seires a hguorht lartnecthe esepath ht ssof erd da oresistance T ?esrevinu eht gan nivinvisibly resbo fo curved yaw cfiispace, ceps nw o ruthe o tusurface oba llet of the least along until coherent weave from the hsame sac ethreads ht ,reknuthat b ehmake t ni dna sezag elpitlum hcihw ni secafrus degrahc sa gnitca snoitallatsni lausiv-oidua dna stcepsa erotheir c eerfall ht dand nuorforces a dezithem nagro to nestay eb sastill. h hcPlanets raeser eh t ,snthe oitssun euq tby planet :interrupts orbit aht uoy ot timda dna d our aehbodies. a og tsuOur j I dbodies luohs yare enom mostly ekaf ewater. ht yas Water I dluohiss ro eht ot eud rehtegot emoc – sreweiv eht dna stsitneics eht ,tsitra eht fo esoht – following an elliptical path defined by their natural curve. Any body and any mass em eveileb uoy d mostly id ro ,tempty aht timspace. da ydaSo erlby a I extension did ro ,tiewe fretare nuospace; c saw ti hcaorppa lanigiro na etareneg skrowtra elpitluM .thgil lasrevinu fo noitca gniyfinu 1 tnertake effidthe yb spath emitof tnleast ereffiresistance d ni decudalong orp snaocurved itatnesespace. rper ecWe apsall tcefall llocfreely ot 1 without pull, we are the universe. hsac fo sdaol dah I uoy dlot I nehw -arpus neve dna lanoitome ,lairosnes a ta ecaps retuo fo y ranigami lausiv eht ot ;serutluc along this natural, invisible, curve. rieht dna snoitatneserper lausiv neewteb tnemevom citcelaid ehT .level lanoitome Sky Stories This is the space and time we are bound to. We cannot jump off it or live ???yhtlaew mees I diD tnecer dna dlo fo noitanibmoc eht hguorht noitseuq otni semoc sutats ytidilav Astrophysics is the observational science hgoutside uorht deof tait. ercThis era eiscaour ps funiverse, o segami ythe rarvast opmextent etnoc wofohour dncurved atsrednspace-time. u ot 2 ??par ?deraperP People ,srats fo segami latigid dne-hgih ,strahc detnirp ,setalp ssalg – ecaps retuo fo segami ;seask irotwhat’s arobal outside dna sretthe necuniverse. hcraeser The lacisanswer yhportsis a onothing. t stisiv tcThere erid is no meaning ?ekaf saw ti tahexcellence. t dettimdaSince I erofscientists eb flesymcannot rof llewphysically gniod neeb I daH always wen edivorp seiratnemmoc oidua eht elihw – snoitarolpxe aevonrepus dna seixalag

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In the Middle Ages, nconstellations oconstellations sgnieb tneitnto eswalk fo reacross bacross mun elands tinfinand iand na navigate enavigate byam ,sthrough tthrough enalp foseas. rebmIn unthe etin fini na Ages, Middle as spheres rotating Earth, ethe b osky tsky sawas hwas traconceived Econceived ekil ylraeas n ayarseries eseries v os tof eofntransparent atransparent lp a eb tsum ereht yrotating leruS .staround earound nalp esEarth, oht the spheres atthe center of Renaissance, and sbelieved tbelieved i ecreip to oto t be tbe naat w ethe m scenter ekam tof I .the ythe tinuniverse. fiuniverse. ni siht erDuring iDuring mda I the .the ti mRenaissance, orf elbahsiugGalileo nGalileo itsidniand scientific provided new physical laws laNewton’s nNewton’s oisnemidscientific -eerht A .revolutions erevolutions caps si esreprovided vinu ehTaa.enew roc understanding sunderstanding ti ot hguorht llof aoff the dthe naphysical ecafrus laws opened the tohcontemporary contemporary quantum theories riddles dof nthe athe htuniverse runiverse on ruo sand iand tI .sopened k colc ruthe o nway oway ssato p ctaw ew emit equantum ht dna nitheories evil ew eand cand apsriddles of dark aabout sabout i ecapdark S .erenergy. uenergy. tuf ruo dna tsap ruo ,nwod dna pu ruo ,tsew dna tsae ruo ,htuos of sky have become the referents ,nus ehtNowadays, ,Nowadays, srats ehT .visual nvisual oitcarepresentations rrepresentations tta lanoitativargof hthe gthe uorsky ht dhave evawbecome noisnem id key lkey acisreferents yhp the formulation hypotheses about material dynamics efor vathe hthe llaformulation yeht esuaceof bofnhypotheses osinu otni tabout h guorthe bthe erphysical, aphysical, lla ,ydobmaterial nwo ruodynamics fo thgiew of eofhouter touter for are Hubble telescope’s shiny of stars stars dlespace. fispace. a setWe aWe ercare ,egall rall ahfamiliar cfamiliar cirtcelwith ewith na eHubble kil ,ssaM .nommocshiny ni noand iand tcarcolorful tcolorful ta lanoiimages timages ativargof telescope’s and They the example ofchighly highly observational tools ni dgalaxies. egalaxies. praw ,erThey utcurare tare s athe si eperfect cperfect apS .ecexample aps dev rof u a fo madvanced radvanced of eht ni sobservational eidob dnuoratools and employed contemporary look at the distant regions of .emafl a nby iby gn ilruc repap ekastrophysicists iastrophysicists l ,ygrene dna reto tto talook m foat ecthe n esmost emost rp ehdistant t ot esnregions o pser of employed contemporary But images created? what do they they gniwolthe lthe of ,visible evisible ert ehuniverse. tuniverse. fo llup eh t mhow ohow rf eexactly sexactly ool gniare kare aethese rthese b yb h traE ehcreated? t no llaf And sAnd elppwhat A do But images tell our of observing the To address these eht fotell ecaabout fabout rus ehour t litown nown u ,especific cspecific aps deway vway rucof ylb isivni na gthe noluniverse? auniverse? ecnatsiseTo r tsaddress ael fo htthese ap ehcentral tcentral observing organized three core aspects: ybquestions, nquestions, us eht tibthe rthe o sresearch tresearch enalP .llhas ithas s ybeen abeen ts otorganized meht secraround oaround f dna llthree af riehcore t stpaspects: urretni tenalp ssam yna dna ydob ynA .ev ruc larutan rieht yb denfied htap lacitpille na gniwollof to space produced in different times by different ,llup tuohtiw 1y1leto ercollect fcollect llaf llaspace eW .erepresentations crepresentations aps dev ruc a gnproduced ola ecnatsin isedifferent r tsael fotimes htap eby htdifferent ekat cultures; .ev ruc ,elbisivni ,larutan siht gnola cultures; evil ro ti ffo pmuj tonnac eW .ot dnuob era ew emit dna ecaps eht si sihT understand contemporary space are created through elpoeP .emit2-2eto cto ap s dev ruc ruhow ohow fo tcontemporary n etxe tsav eht images ,images esrevinof uofrspace uo si sare ihTcreated .ti fo edthrough istuo understand to centers and laboratories; gninaem on si edirect rdirect ehT .visits gvisits nihtoto n astrophysical sastrophysical i rewsna ehT research .research esrevinucenters eht edisand tuolaboratories; s’tahw ksa syawla

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Pamela Breda The quintessence Pamela Breda The quintessence (film still, detail), 2019, TRT: 01:07:00 (film still, detail), 2019, TRT: 01:07:00

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multiple artworks in order to critically analyze the the aesthetic aesthetic ecnessetniuq eh T a3derto B adevelop lemaP 00:70:10 :TRT ,9102 and ,)llits m lfi( content-related features of the visual imaginary of outer space. and content-related features of the visual imaginary of outer space.

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technological has been experiencing a technological hypergrowth. telescopes to to hypergrowth. In the last three decades scientists brought powerful telescopes orbit as the the Moon Moon orbit around the Earth and sent probes to other celestial bodies such as and objects and and and Mars, in order to take extremely detailed images of outer space’s objects events. As non-scientists, we can admire images of stars, galaxy clusters, events. clusters, planets planets and asteroids produced by space agencies such as NASA and ESO. However, and However, we we are unaware of what actually happens when the powerful sensor of an orbiting are orbiting telescope takes a picture of a distant galaxy, or how a tiny mechanical gear telescope gear installed installed on a radio station in Hawaii can shape the image of a distant supernova on supernova explosion. explosion.

The raw data captured from space are never distributed to the press or The or published published online in their original format. online On the contrary, they are strongly edited and visually manipulated manipulated in in order order to become more appealing to the eye of the general public. Transformed to Transformed into into the the shiny and glossy images we are used to know, they become a popularized shiny popularized rendition rendition of highly complex visualization processes performed inside remote scientific of scientific labs. labs.

As an artistic-based research, “The Quintessence” proposes an original original approach to the visual imaginary of outer space, exploring the domain of approach of astrophysics as as an an evolving evolving system, system, which which evades astrophysics evades the the fixity fixity of of truth-encompassing truth-encompassing statements. statements.

The project project was was structured structured around around the The the visist visist to to several several astrophysical astrophysical research centers centers in in Europe Europe and and the the USA USA and research and the the relatedproduction relatedproduction of of audio-visual audio-visual documentation, generating generating aa sensorial sensorial representation documentation, representation of of highly highly secluded secluded scientific scientific laboratories, often often situated situated in in remote remote locations laboratories, locations and and usually usually not not accessible accessible to to the the general public. public. A A series series of of audio audio interviews interviews conducted general conducted with with selected selected astrophysicists astrophysicists and engineers engineers provides provides an an intimate intimate portrait portrait of and of scientists scientists as as individuals individuals with with their their unique background background knowledge, knowledge, ideas ideas and unique and creative creative intuitions. intuitions.

The audio-visual audio-visual material material produced produced during The during these these visits visits has has been been developed developed through aa series series of of subsequent subsequent stages stages in through in aa series series of of experimental experimental flms, flms, photographs photographs and audio-visual audio-visual installations installations acting acting as as charged and charged surfaces surfaces in in which which multiple multiple gazes gazes those of of the the artist, artist, the the scientists scientists and and the –– those the viewers viewers –– come come together together due due to to the the unifying action action of of universal universal light. light. Multiple Multiple artworks unifying artworks generate generate an an original original approach approach to the the visual visual imaginary imaginary of of outer outer space space at at aa sensorial, to sensorial, emotional emotional and and even even suprasupraemotional level. level. The The dialectic dialectic movement movement between emotional between visual visual representations representations and and their their validity status comes into question through the combination of old and recent validity status comes into question through the combination of old and recent images of of outer outer space space –– glass glass plates, plates, printed printed charts, images charts, high-end high-end digital digital images images of of stars, stars, galaxies and and supernovea supernovea explorations explorations – – while galaxies while the the audio audio commentaries commentaries provide provide new new

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Pamela Breda The quintessence (film still), 2019, TRT: 01:07:00536711

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Pamela Breda The quintessence (film still), 2019, TRT: 01:07:00 Image credit: NASA 426711

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Pamela Breda The quintessence (film still), 2019, TRT: 01:07:00 Image credit: NASA 071

lareduR ehT yrarbiL perspectives revon e dn topics a lacosuch rpiceas r riscientific eht fo ded objectivity, nimer eb ot personal siht otnintuitions, i nevoW .etheoretical rutaN htiw frameworks pihsnoitalerand gnivlove material llams constrains. y reve taht noitingocer eht si gnidnatsrednu sihWhile t rof deHubble es a oslaimages si noitare utitsharper ser dna rthan iaperever, fo tca and their pixel resolution constantly rises,.nthere oitulover is asdepletion ’y rarbiL larof edtheir uR ehpower t fo tcato pm connect i evitisous p eto hTthe interstellar epocs htodistances b ni daerpof seouter diw ebspace. lliw stThrough neve noitcelloc original srelleartworks wd nabruI reactivate srewopmethis tcejpower, orp ehTgiving .hcaernew dna and original dnmeaning a seiranibtoygthe ololight ce lattravelling eicos redisthrough nocer ot the universe. fo seitilibArtistic apac gnipractice laeh eht as eroresearch lpxe ot ,sbecomes rohpatem adpowerful na noitavtool resnto oc question fo erutuf the eht process enigamiof er scientific dna sdeew knowledge .sepacsdnformation al lairtsudnand i-tso visualization. p fo smret niThe ytisrrelated evidoib artworks stand ni egdeaslwaosymbol nk lacitcofarinexhaustible p reffo lliw seiand res sihT unlimited eht ni sftihdepth s evitcof epmeaning, srep lacigspeaking oloce htiwofnsomething oitcnujnoc that laccannot irotsihbe ,sisfully ylangrasped a lacigoloorcecomprehended, ,gnivas dees fo but mrof sensed, lperceived ios dna gnand irapeadmired. rp aet noitacfiixoted ,txetnoc fo nImages oitamroof f athe sdruniverse awot snoare rtapapproached troppus ot gnitset as gnsurfaces inruteR .and gnicmaterial ruoser evprojections, itcelloc dna objects ycneicffius-fles and ytcomponents iC ro ”otroH of ni sculptural sbrU“ ottom installations. s0381 sti ot ogacihC They detercommunicate pretni era smrideas et eseof htspace woh dand na ,n time edrathat G eht nI go beyond tcejorpearthly tolip sih boundaries t ,enecoporthrough htnA ehat fgaze o ega eht ni which .acirem creates A ssorfolds, ca seitinterruptions ic ot daerps otand laitnon-linear netop eht sah sequences. Every picture of a star, a galaxy, a ;’detnedecerpnU‘ enilceD suoregnaD s’erutaN :tropeR NU ,snoitaN detinU 1 planet, a meteorite, a supernova takes back its ,snoitaN detinU :siraP( ’gnitareleccA‘ setaR noitcnitxE seicepS original /tnempopower levedelbaas niaatsunique us/gro.nu.encounter www//:sptth ,)9made 102 ,9 yapossible M ./troper-detnedecerpnu-enilced-erutan/50/9102/golb by a huge number of factors.

Artistic practice-as-research exposes what is visible and at the same time suggests what is hidden. Contemporary astrophysics emerges as a complex domain of knowlege shaped by technology, human agency, cultural and individual backgrounds. This reflection can trigger further considerations on the nature of scientific knowledge, our role as humans investigating the universe and the responsabilities we face towards Earth as a tiny yet precious planet existing within a much bigger context. Thinking about outer space and its visual representations becomes a phenomenological opportunity to experience how we, as human, strive to understand the mysteries of outer space. ecnessetniuq eh T aderB alemaP 00:70:10 :TRT ,9102 ,)llits mlfi( ASAN :tiderc egamI

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1 This text is an extract from a performative talk presented for the first time at Harvard University, Faculty of Astrophysics, in the fall 2019. The text is loosely inspired by Janna Levin’s How the Universe Got Its Spots: Diary of a Finite Time in a Finite Space, Princeton NJ, Princeton University Press, 2002.

2 Lady Windermere’s Fan (1892), in Oscar Wilde, The Importance of Being Earnest and Other Plays, London, Penguin, 2000, p. 47.

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In elggurts supmac-no ,gnol-yad a gmarking nirud stnthe edumetaphorical ts rieht yb dersite utrofor t dthe na dGolden etailimuSpike h reH .ton did naiB ,deviv rus srotacuaddition de rehtotoehaccelerating t hguohT .66the 91 ,movement 5 tsuguA noofnpeople oisses and goods, railway traffic was vital ofkforeign successful migrants are of the deirt dnabsuh reh nehw dna ,emto it ethe ht tspread a ”nwon nu“ deraseeds. lced sThe aw hmajority taed fo esof uathese c weedy truoc eht ,noituloveR larutluC eh t reftavariety stirpludue c ehttofotheir eno willingness tsniaga tiusto a gpersist nirb otin human altered environments. combination of species .dessap dah snoitThe atimrail il foyard etutprovides ats eht esauspace aceb efor sacits ehown t descharacteristic simsid :htaed s’naiB nopu )”sweiv “ ro( sevitunmanicured cepsrep elpitluand m oundisturbed tni tilps si retby pahuman hc sihT intervention or conservation. Each event invites participants to take a closer look at some of the most forward thinking, epoch. reh ta tneserp ton saw ohw ,oaygbiodiverse niJ gnaW decosystems nabsuh reh to fo ssurvive eiromethe m ehuman-impacted hT · ;esproc reh eveirter ot sdraw refta delAs lacan ylnanchor o saw dfor na engagement, noisses elgguit rtsis an attempt to repair our fractured relationship with Earth. This will provide an opportunity for Chicago’s residents

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lareduR ehT yrarbiL Siri Lee ZÀO: ,tnAleavHistory ceigroalo uofcgChinese eninsaosttnnietsneerm peervtoPremise am htstscaem jbomtorraf dfteithasveithctannIa.esgi iytrsaervbiaLslaarneodusR reeghnTil y rarbiL lareduR nrokesriH hann)ftaeHl( Dishcourse through Famine and d eseeenW ihC,sfdoeyerSot,sliaHteA M:O ,dÀoZoW eeL ,9i1r0i2S hcishew tistoaptpnoiom p oarsfi”enraebhrTu“.yehhptardgnoair”As oltasriauhtspeculative anno“delh othfsotishistory, n sniaem sooodl the ceihgtoartist’s nl ilaftniohistbook cefiviltacierZÀO: p oshrteupaA History of,sChinese Dishcourse Revolution (pages 161–2), 2019, Digital dna enim’a5Fxh’g7uxor’h6t,esserruuotcchnsiiTD dna ,yefcitntext, neerd egraphite fienradclreo wwpaper, s-elapearcsstdi nfoalyltaiilthrough rattsuurdbneih-Famine ttstorpoptupand ouhsgrueRevolution, o grnhoTl o.snrennaretells tcracp igcoiltmodern loaicbim roygseloChinese lta history illustration, on ,)degnathrough rraer ,4–162“faction” segap( noituloveR and digital collage, 4275 x 3225 px, eiv “ denigami s’naiB fo stprecxeE arbmy iL larstudy eduR nroof kesMao riH haEra nnaH ceirxuottluectaiudgenmilehr csithnwalrpecviotstinniu otprogp n(fact pikOae.and lribosehdfiction). teteabnoim t saThis m tneoecsinvented ohttasendoidtangenre tapaed ruatislraoacticritical n s’antaoibB response”ywrto Image credit: Archival photo in the ’ssentiweye tneduts dna )nmuloc ftel( ,sdeeW ,sdeeS ,lateM ,dooW ,9102 tsom eht nmodifications i tpada.eotat ryand utsilnibeamsm ’eoru cn taiN propaganda—itself ylfroetltlu iwgenvim isseeersptm uo ian h ehtarchive itwgh nciztiem rof tostfictions riepgen,osn l oposing n itiddlnuooccas fact. At sthe public domain, ’naiBsame gnirud time )nmuloas c ththis gir( ” weiv “ ’5 x ’7 x ’6 ,serutcniT arrangement latigiD ,1communist 202 ,noisses elggurts ehtdnby niaSiri ndaehLee rtutsnaeerm apephat esrdorm aweorteh n propaganda w ruotnossilafteihnsoextolled st ilhaT us.itvend China’s anlap grn uiocmetamorphosis anpo eshect a,elpredHetullinto op an unprecedented xp 0372 x 0501 ,noitartsulli

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In its exhumation esigtenrof aylp a isnitrauma ,nei-hdteo xotnbi ytlliaurbetyirl a,rdbeitlndeem lmassive tcyndietesw id ehistorical aliybbom defi uy rdanrbaieLconcealed claapresdeuvRiteah gbeneath eTn kcalbexuberant propaganda, ZÀO ruof eht ta dleh stneve ruof fo sedeploys ires a romyriad f rohcnastrategies: eht dna karchival curt puk.timages, caim p raoffolakoriginal ucsaibv historical research, personal veeew hcteabE n.fictional oogisanciehtCehn orreltiparahccfiis(mis)translation, ciahPTnoinU t,earhotlp sexveirddnyareoctuciddoarrttnniolcliw owtn t enmemoir, storyline, ti nsd i rsakyrodwabilingual critical analysis, and handpeop rhptanhAtaehhw t f“ofostensanlpescaitsro infdrawn uwtorollpapillustrations. soe:sOnÀelZ ragvuh rishutgenerally oetn”edco en oot ,,edvnisasheregngoaThe eehhttn,result isstu auobook oih othat rghuton r frenetic and at times noatbgrnuid hn tiawtsgrneidrn en ito ad neu e— h reisvsifor doo bsseirvcextended isfnoatpuxoe eechmoment utfroaPsg.rnoufrneom soverwhelming taoefrechotty,asltnyu oct except cyatigsn rcione sted lanoac towards the end. arnbuiLelbaroetdn uR ygoohloctcael rteshetvoraeh tandoae;dl olloiw tsryerd igebhtn,asclatnnoeivsesecfiotarpmdunaartsenhotittaazhitnoags rootn alsuem mc yovta,edhnafoh tauc,n-roaietalccfi aioxtontei d eclnab ecresehlanoocp’o snhosk iCase trcouwrtasstudy n,sotcnearltpnraottlu r huccucsaryenpayh reltantueo mnsaihyptirloibmisospooprm htineahftoegmdueiluwqWith aotd”n eitciewposhe“vifsoout aevvniof itaforthe itrceetsllaIom c attend more specifically to nden vea d oonlkloccathe preceding ,ad,esndeepepsashsummary rnao nway, will mgsnipublication. tni efomenco“Untitled citamuart eht htob fo ecneirepone xe ehparticular t ot elohwchapter tnerehoin c a.the icnairgalam nreivloniev and penultimate” (all that eht gnneihtw elptomnoycllraoifcep lbsiesn,eorpusseorlcfollows saown yenban pam d fieft icaaPstni oniito neUfenter hn Taand is the c oeC reepilogue), haTo.rhlitaaRmcrattempts iled tnevstay e with a specific traumatic nei sm q,aethe stedhnt adof iltensotciofsm nthe t first educators to be murdered revednestainhUdenhat,d seorodbdlaaiyrltesruadbnevent lilitn s esui— rsebeuh death tnnaBian e,vdeaeoZhongyun, hrltiahrtolabtnfoen,fone raarh oeGlbem htefsosasenteishW laci.d synhupow ehat d eby rnaasher tnoedown vneiw ehmiddle oi ilteanchigh saoEp.odrepsstudents teSb endeidsld w at hrotof bsnsand aopl dhecschool seehrTde.srentaeduring the Cultural Revolution. For a tlleaw iaarlblast’nren ocasalleged n ehocsntaornb oed htsd eand kisipySfour esh ngsias d saaosrkln hittonh e anrit lelfihtcounterrevolutionary hfcousm tneetcmecrimes, gnanrof ceshecBian hiht w ,ed b other educators were publicly uH yb detcerid ,enoG mA I hguoh T 1 nI .enecoporhtnA eht rof ekiphumiliated S .neelodhlowGaerh rip ohtheir korpam mi a day-long, and ethrtoetortured gf oetigsnlaicceiby rp evaetefm students o yethiltibginsisduring tnednon-campus epedni :anihC ;6struggle 002( eiJ .ebsurvived, utuoy.www//:Bian sptth ,)did noitunot. birtsidHer lativhscaihwwcoffitasrktryoawweliearrh,tsd dnoankesession erm itoatrekleilccdthe aluootw noI itideducators da egodoeglw clpaooetpyftoion ntuntAugust opepvo m s5, ihe1966. thetkgantThough other -3cGfBe=v&9=daoler?hctaw/moc eht fopaeeraL sttanearrGgiem t’gfn oeyhtof jganmaYeh T dtseiehs :ndgeiteb“unknown” reodf nfoi ydlapeerepdat s seithe hOt Àotime, t htlu nfosseencoctsubsmeosTehscause sirio Jdeath nwas air.sodeclared Z and tried rof lawhen iromeMher “ ,gnhusband aW niquoY ;A rnI laruRevolution, tluC esenihC ehtthe fo smcourt itciV .lsatin menm or-ievvniehcdrearceitlbaunpam tsgibring snraeW p oratasuit en lliw iFehestof ira/d vafter wF Cultural roem s’nuihqunoi Y to lsosh cagainst sgn,ein marone eontthe iehuCdculprits tayeterG ryadwereothe tsuacoloH esenihC :noituloveR icoehpZs fnoainBon itoanyirbam c nrw rodfneabecause ca,nposiatusleothe dvievRostatute rlp rhtehroTf ,nuysgen tnoecmcuitcsoirdetscdismissed ’eairJauhH otocthe esrtid case ardurtaluyof Cliaelimitations had fpassed. o ytisrevinU ehT ”,lairomeM 1 rebmeceDupon dessecBian’s ca ,ogacideath: hC casm’nuchapter ahiBybnId1e.)b tnevetphicrcasEe.hntofitoah v creusm no,yclrlaocnfioicitenpesvrreettpnaihn ru ts虽 idinto n nhagm This is 去 split 死 我u( demultiple noaGdemru AcIiperspectives uonhuT (or,0“views”) /ude.ogacihcu.muh//:ptth ,8102 ehikhntiihwt dreasw u rdonf atsdoem taelshntafrot eI m taohst teavikhocorlarse’sgonlacW seictim oci ,grn a enkiasteoint osm tniatp traoprfsseetm ivn gnehsiJ ;/y rotsih/gnawy/ytlucaf taerGwas eh T :not enotsbpresent moT ,.la teat gnher aY s’uH htiw enoG mA .Ihhcgoupoehd Tem nei-knaatm rThe ahseehgmemories esylishowce,neosWang irsesviim eibp tcoarpfm tam eviiverhutsfooftesm moesthusband dorJingyao, ·eu her who 1 ,2691–8591 ,enimaF esenihC ym m y rm oetstitha lnaarustistruggle ltui c,atnuegm nisession ÀeZrand ,oefsn ehs canonly naIn.ancalled osiAssimafterwards rep dreorfurtecatprfah rucos’rniaapiBerdontatp el gsa’O gn rowas totsretrieve her corpse; ,rarraF :kroY weN( .de naciremA .)2102 ,xuoriG dna suartS f ernoof tystbinmuotrtosp’upH f esnihoT tsb aYpoiht ssngoniitraelffero st.nlaeu dd isievridsn’oignaacirhoC o ndanaedairveon rpa lrloiw .hm troatEs’hgtniw

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· A scholarly account of her death, googletranslated from Chinese to English.

This was regularly intruded upon by my exasperated handwritten corrections of repeatedly mistranslated names and other words; · A first-person remembrance of Bian by one of her former middle-school students from the 1950s; · Bian’s own blow-by-blow, wordless point of view during the August 5 struggle session, as imagined by me; · A student eyewitness’ account of the event (excerpts of which are rearranged on the following page); · …and lastly, linguacultural euphemisms.

The husband Wang Jingyao’s perspective opens, punctuates, and ends the chapter, taking up the entire double-spread each time it surfaces. The rest of the pages presents the remaining “views,” which are divided between four columns composed of panels and text. These columns progress in mostly chronological order, so that their panels align horizontally when the moments described match up in time. A given view’s column is left blank when a moment that it does not address is being described by another account.

Insofar as it is explicitly nonfictional with the exception of the linguacultural view, this chapter largely departs from the “factional” modus operandi of the rest of ZÀO. Prior to this chapter, linguaculture is the overarching narrative lens, and compliant with its alternative historical logic, all of the book’s preceding text refers to Chinese history through a thin allegorical shroud — China as Signa, Mao Zedong as the unnamed Chairman, the Little Red Book as Little Red Furu (bean curd), etc. But in Bian’s chapter, this side-eyeing veneer is dropped in all accounts except for the linguacultural, which

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(left) lingers on as a vestige. In the shift from emass simemovement rP into esensingular ihC fo y rotsevent, iH A :OÀZ eeL iriS Siri Lee ZÀO: A History of Chinese dna enimaF hguorht esruochsiD esruochsiD esenihC fo y rotsiH Aauthorial :OÀZ koofictional b s’tsitralogic eht ,loosens y rotsih eits vithold aluceon pshistoriography. a sA There is a point at which Dishcourse through Famine and latigiD ,9102 ,)2–161 segap( noituloveR ”noi(pages tcaf“261–4, hguorearranged), rht y rotsih esenihallegorical C nredom logic slletecan r ,nono itullonger oveR dnsupport a enimathe F hgbrutality uorht of its real-world Revolution ,repap no etihpreference, arg ,txet ,noitaand rtsulli Eexcerpts of Bian’s imagined “view” ,xp 5223 x 5724 ,egalloc latigid dna arE oaM fo yduts ym ot esnopser laBian’s citirc atorture si erneand g dedeath tnevniseems sihT .)to nobe itcthe fi dnbreaking a tcaf( point over which linguaculture (left column) and student eyewitness’ eht ni otohp lavihcrA :tiderc egamI ht sacolumn) emit during emasBian’s eht tA .tcaf sacould gnisop nosnlonger oitcfi fstretch o evihcrwithout a na flesseeming ti—adnagutterly aporp incommensurate. “view”si(right dna snoitacfiidom ,niamod cilbup struggle eeL iriSand yb tnemegnarra tsinsession, umm2021, oc dDigital etnedecerpnu na otni sisoHere, hprom the atepacing m s’aniand hC dvisual ellotxtone e adnalso agapturn orp towards the measured illustration, 1050 x 2730 px

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(right) .)6791–6691( noituloveR larutluC dnnames a )2691–such 8591(asdrthe aw r“Great oF paeL Leap taerForward” G eht ni sn and osaslogans er such as “Surpass Britain and Siri Lee ZÀO: A History of Chinese cilbup nretsew edule ot seuncatch itnoc up sreto tsaAmerica” sid eseht f(超英赶美), o noissucsid ZÀO’s elihwgenerally ,yadoT brisk, sometimes lurching pace Dishcourse through Famine and can anspeedrun ihC dnalnithrough am ni piahsdecade rosnec in riethe ht ,espan sruoof csitwo d pages. This impetuous narrative Revolution (pages 265–8, rearranged), .setalacse lEexcerpts acirotsiofh Bian’s etareimagined pucer n“view” ac eno woh notempo etanim isuin r oturn t dnareplicated —erusare in hcausflamboyant, tsiser oT chaotic, and sometimes sensationalist (left column) and student eyewitness’ enigcolumn) amier during ot sreBian’s daer sksa OÀZvisual —amustyle art dthat na aioften senmaswitches hcus fo color etips palettes ni y romeand m subject matter from one page to “view” (right struggle tahtsession, noitaz2021, ilivDigital ic etanretla na — ytthe eiconext, s ”esedarting ngiS“ sabetween yteicos poster esenihC scans, y rutndigital ec-ht02illustrations, comics format, and illustration, 1064 x 2730 px

noitcudorp larutlucirga dna citsphotos iugnil fof o nmuseological oitaflnoc a ”,eartifacts, rutlucaugeveryday nil“ decitobjects carp and public settings. netae si egaugnal ,erutlucaugnil nI .emas However, eht yllaretin il eBian’s rew dochapter, of dna sd the row measure nierehwof time thickens from year s’arE oaM eht dna ”,adnagapto orcminute, “ sa def-even ecrofsecond. si adnagThe aporensuing p ”,esru72 ochpages sid“ strack a the motions of a single noitamuhxe sti nI .lacitnedi emoafternoon. ceb enimafCorrespondingly, lacisyhp dna noitthe utitart sedstyle lautcdraws elletnitaut: the pages are dominated by OÀZ ,adnagaporp tnarebuxe black htaennegative eb delaecspace noc am and uarunified t laciroby tsiha edistinctly vissam foregimented, literally boxed-in, lanosrep ,hcraeser lacirotsih lanivisual giro ,sformat. egami lavihcra :seigetarts dairym syolped -dnah dna ,sisylana lacitirc ,noitalsnart)sThis im( lchapter augnilibworks ,enily rinotthe s lan tension oitcfi ,rbetween iomem two contradictory drives that semit ta dna citenerf yllarenegrun si tthroughout aht koob a sZÀO: i tluseon r ethe hT .one snoihand, tartsulto li n allow wardfor a sense of “what happened” to .dne eht sdrawot tnecoalesce mom deout dneof txecrisscrossing eno rof tpecxaccounts, e — gnimlto ehcreate w revo some rungs of understanding to latch onto so that the traumatic event can begin to be understood; on the other hand, to counter any such resultant reconstructions’ yduts esaC coalescence into a clear-cut ot yllacfiiceps erom dnetta lliw master I ,yawnarrative eht fo tuoofy r“how ammit ushappened,” gnidecerp eto htacknowledge htiW the impossibility and even taht lla( ”etamitlunep dna deltviolence itnU“ .noofitaimagining cilbup ehtancoherent i retpahcwhole ralucito trathe p enexperience o of both the traumatic citamuart cfiiceps a htiw yatevent s dna and retnlife e otin stits pmaftermath. etta ,)eugolThere ipe ehcan t si sbe wono llofclosure, especially not when the deredrum eb ot srotacude tsrfi harm eht foitself, eno ,nofuyboth gnohthe Z nevent aiB fo and htaethe d ehera, t — is tnstill eve barely addressed, and has never roF .noituloveR larutluC eht gnirbeen ud stn redressed. eduts loohEach cs hgpanel ih dnaiseboth lddima window nwo reh and yb a wound. When assembled side ylcilbup erew srotacude rehto ruoby f dn side, a nathese iB ,sem fragments irc y ranoido tulnot overso retmuch nuoc dfill egin elleach a other’s blanks as signal the 1 Though I Am Gone, directed by Hu elgJie gu(2006; rts sChina: upmaindependent c-no ,gnol-yad a gn impossibility irud stnedutof s rever ieht ypiecing b deruttogether rot dna daewhole. tailimuh reHdistribution), .ton did nhttps://www.youtube. aiB ,deviv rus srotacude rehItwould o eht hlike guohtoT take .6691this ,5 tsopportunity uguA no noito ssacknowledge es three works to which com/watch?reload=9&v=eBfGc3deInrA; irt dYouqin nabsuWang, h reh“Memorial nehw dfor na ,emiZÀO t ehtistadeeply ”nwonindebted: knu“ deralhistorian ced saw hYang taed Jisheng’s fo esuac Tombstone on the Great Leap trVictims uoc ehoft the ,noChinese itulovCultural eR larutluC ehForward/Great t refta stirpluc Chinese eht fo enFamine, o tsniagascholar tius a gWang nirb oYouqin’s t public archive-memorial Revolution: Chinese Holocaust .dessapof dah snoitfor atim the il fCultural o etutatsRevolution, eht esuaceband esacdirector eht desHu simJie’s sid documentary on Bian Zhongyun, Memorial,” The University 1 chapter specifically, much of the script :htaeChicago, d s’naiaccessed B nopuDecember )”sweiv 10, “ ro( sevitThough cepsrepIeAm lpitlGone um o(我虽死去). tni tilps si reIn tpaBian’s hc sihT 2018, http://hum.uchicago.edu/ comes from testimonies in Wang’s archive that I translated and used with her faculty/ywang/history/; Jisheng images are· taken from Though I Am Gone with Hu’s reYang h taettnal., Tombstone: eserp ton sThe awGreat ohw ,oaygnpermission, iJ gnaW dnawhile bsuh some reh foofsethe irom em ehT Chinese Famine, 1958–1962, 1st history and Bian’s chapter form my ;esproc reh eveirter ot sdraw repermission. fta dellac ylnIn o saasense, w dna ZÀO’s noisseslinguacultural elggurts American ed. (New York: Farrar, Straus and Giroux, 2012). offerings to Yang’s tombstone for an era and Hu’s tombstone for an individual.

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-efnoMaterial c edulcniCompany, stuptuo gnDakar iwardin reH .enot lanoitome y rellag nihtiw snoitibihxe dna ,snoitacilbup ,secner TANYA BLACKWELL edulcn i snoitibihxe tTania neceRBlackwell .secaps yis relan lag-non dna Australian dnaartist. y rellaShe G neholds pO seanBachelor alhgiH ,wof olrArts aC LAUSIV (Fine anilArt) laB ,with remaHonours rK onrA yfrom b detRMIT aruc ’gUniversity niwarD dnoyeB‘ (2002) snoitand ibihaxeMasters dna seicofneLandscape diser gnimArchitecture ocpU .ertneC strA from University Blackwell ,epacsdnaLofs’Melbourne ertneC erut(2018). plucS m irtieL :edisulcni currently dna ycnaePhD diseRCandidate hcraeseR at latDeakin nemnorUniversity. ivnE & ygolocE Her interdisciplinary .ycnediser evitaroartistic balloc aresearch ,’narrocin hsconcerned eK gniklaW‘ withnintangible cultural memory, a ,deretneC ed gniwheritage, arD fo red nuof-oc si elooT ’O darkness y rarand opmquestions etnoc seroof lpxhaunting e taht eviin tcelandscape. lloc del-tsitra Blackwell seeks to activate these narratives .ecitcarpusing gniward methods such as composite mapping, installation, photography, film rehcraeperformance, ser dna rotaru c ,tsand itrawriting. na si YRRAP NEB latnemnorivnE ni AB a sdloh eH .nodnoL ni desab PAMELA nabrUBREDA ni AM is naan ,trartist A fo loand ohcfilmmaker S wogsalG living morf trA between the dnLon¬don a loopreviand L fo Milan. ytisreviShe nU ewas ht m orfrecipient gninnalP of several .dnaltoart cS awards fo tseWand eht fellowships, fo ytisrevinUincluding eht morf DhP Italian yolCouncil pme ecitAward carp de(MibaC, tautis dItaly), na nevCantica21 ird txetnoc siH (MibaC, Italy), dna ssIMeRa ecorp ,Fellowship muidem ot (Marseille, hcaorppa esrevid a France) txet ,and snoitSimultan nev retni cInternational ilbup ,mlfi gnVideo isu tneArt megagne Award. fo snIn oit2019 cesreshe tni ewas ht sappointed erolpxe krofellow w siHartist-in.dnuos dna residence gnidulcnati ,Pratt msinInstitute abru dna (New msiviYork, tca ,ygUSA). oloce Recent dna tra international eH .iabmuMexhibitions ni etsaw tuoand ba tscreenings cejorp gnidinclude: nats-gnol a TalentPrize ‘When htaB ta ec2020 itcarP(Rome, lairotaItaly), ruC AM eht sdThings ael yltnerruc Merge Into Each Other’ (Wien, Austria), .tr‘Open’ A fo loohcS (Nottingham, UK), Les sublimes Archives (Helsinki,

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Finland), semehtSheffield derolpxe DocFest yliramirp(UK), sah eVision c4carpdu s’eReel rytnI–cM Media sno4seLibrary uq neM(CH), o krowECRA siH .yFilm golohFestival tym dna(Brazil), noigiler fo Revolutions Per sa hcus ,sam goMinute d suoigiFestival ler ot ec(Boston, nerehda ”USA). dnilb“ eht fo lautir eht serolpxe hcihw ,)9102 oediv( tnevmucriC AuRORA based gniretla ,DEL rewoRiO fl a nis o an lepItalian/Spanish lacs a gnisu yb nar4st oisicm ucric insaBerlin. pain4ng, h seireShe s tseincorporates tal s’erytnIcM .snagro performance, ev4cudorper sti wri4ng and her .napsound aJ dnainto ,ASU ,ynprac4ce. amreG nShe i deholds tibihxea neeb BA in Pain4ng from the Academy of Fine Arts in Bologna, Prac4ce demrofniand si tran a oMFA t hcaodegree rppa s’in O TArt AN O R O M òfrom LOCCiN Transart .y roehtIns4tute cimonocBerlin/New e dna segauYork. gnal nHer i gnar4s4c iniart sih yb research ,ecaps ninves4gates i ”swafl“ dnthe a srorela4onship rre no sesucbetween of ecitcarp siH humanaand sa tsnature, uj ton dhow ednthe etnienvironmental ,ecaps cilbup yspace llaicepse is perceived /laicos/larand utluhow c ehtthis sa repercep4on htar tub ninfluences oitacol lacithe syhp waysreality ’elpoepisginhabited. nitceffa eruShe tcuristsinterested arfni lausivin /cthe itsiugnil space /noiof supoten4ality lcni fo dnik that eht soriginates esserdda kwhen row sidefini4on H .seciohc is avoided esopxe oort gmisplaced, niy rt ,egaruwhen ocne anstructure ac ecaps aofnoreality isulcxe is another ,sttranslated, poda ylgnitor tiwread nu ythrough teicos sm ron dnasystem, stesdniand m eht the space .noliminal issucsid -er evof itcfailure. elloc dna yalp rof meht gninepo cilbup edulcni snoitnev retni tnecer tsom siH MOhAMMAD AVCOD oivihGOLABi crA ta ,9is 10an 2 ,yIranian ev ruS racurator, tS ehT( stamrof architect, dnaand )noddesigner noL stcebased jorP tsin euBrooklyn, G ,skrowsaNew G ,naliM York. from ta ,0He 202holds ,tneman elEMA elbin allCuratorial ortnoC tselPractice lamS ehT ( oediv the School of Visual Arts, New .)nYork. aliM ,With ammaover G oizapS fifteen years of experience in the Middle East, South Africa, ni ANand N E Kmost C A M recently Añ u C i v in N íthe M AUnited JNEB OESuM States, transdemaMohammad n ,ytiC eht fohas mudeveloped esuM eht sai rich ,elihC ,ogaitnaS national body )5781–of27politically-conscious 81( ogaitnaS fo etnedwork netnI that eht refta interrogates htuoS fothemes siraP“ esuch ht saas ogcolonization, aitnaS dezinrewar, dom ohw displacement, eht ezilaand nacthe ot nenvironment, oisiv eht gnidall ulcof ni which ”aciremA he Global ykconsiders sdorB odrathe ciRpillars ,rotcerof iDthe mupolitics esuM .rof evithe R oh copaM South. Mohammad aíramloS ,tneismco-founder poleveD lanand oitucurator titsnI .tat eduaB Frontview for Art and Architecture. .adHis amurecent hA zerímaR projects include Decolonial Mapping Toolkit and bread and densalt. ibmoc eht si )tneserp–5102( D N A B S u h Y M ,YR R E B A K i N N A dna E L Y O D A z i L E fo ecitcarp hAWAPi anroindependent stI .secnisam frep-erutcel ,cultural stxet ,soorganization ediv gnisirpmoc based dnain roPeru htua which neewtegenerates b segappiencounters ls fo seires abetween si ervueo groups dna noof itaartists roballoand c fo places sdohtewhere m gnitaagparticular orretni ,tcejbus struggle ornoconflict environmental, .ymo tua cits(political, itra & lairesocial, tam dn uora snoitseuq often nall i soverlapping) repperP dna sistscentral ilaviv ruto S hdaily tiw glife. nitaDuring roballoC

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y raencuentro, nilpicsidithe tlumartists nailatlive I naand si i Nwork iSAM LOCCiN these onòsite, dna aointerventions neG ni desab rinehpublic craesespace. r dna ,rIn ehthe caet ,tsitra creating AFthat M nfollow, a gniusHAWAPI rup yltnercreates ruc si eopportunities H .madretsmA months siH .)1the 202works, ( IAD ehresearch t ta hcraand eserthinking dna sixarthat p tra ni to connect ,ftarc d nasite evitwith arrana fwider o smlapublic er eht in otn i llcapital, af skrowtra happen on the ecneiduastrategies eht ediugofhdisplay cihw ,ygand olopdialogue orhtna dn a ,y ras teop through such ,seciov ,sdpublic ohtemprogramming fo evitarran gn&igpublications. agne na hguorht exhibitions, neddih gninoitseuQ .sevitcepsrep dna ,sweiv morf nhiRSEKORN oitaripsni swacurrently rd inisaMlives ”,eruand tlucworks “ fo selur hANNAh ,noVashon igiler ,siIsland sylanaoinhcthe yspPuget ,erolkSound. lof ,y rotShe sih ,iserthe utaretil on lairetof amthe miVashon esiw rehIsland to eht gArtist nignirResidency. b ,ygoloporHer htna director eht dinednatural rawa saphenomenon w eh 8102 nI .combined gnieb lacisywith hp oan tni curiosity )erutplucS & nitnwell-being iaP( raeY eof hTthe fo tplanet sitrA ghas nuoY tseB investment ingthe been cnerefnforce oc Mfor G dher na necological oititepmoand c AM MAG eht yb the edriving community .oykoT fo focused art practice. She is the founder of the Golden Spike Guild, an interspecies artist collective tcetihcrA na si O i S S O Cresearch, AN A R u Tdevelops A M z i R TA E B that conducts observational fo rfor etsfollowing aM a htiwthe )ailnatural artsuA ,ysupply tisrevichains nU TIMR( strategies ytisrevinU(material erutcetihunderstandings crA DhP dna ren gisecreates D nabrU of decoupled and ,ciknowledge medacA dnand a rotcare. ceriD ;)ailartsuA ,enruobleM fo with ,egatireH dna y rotsiH larutcetihcrA fo etutitsnI ytisrevinU ,msin abrUisdan naartistic erutcetresearch ihcrA fo ytlucaF iNviSiBLEDRuM (NO) fo loohcS ta ro sseforPpractices tcnujdA and dna elihC fo platform investigating holistic .TIMR ,msinthe abrfield U dnof a eart rutand cetihcrA spiritual technologies within new ecologies. We study animistic practices sanoM( rengiseDfields a si Yof N Eknowledge, NNiCM YNOhTNA within htransdisciplinary TIMR ( tsitrA lother ausiVthe ;)ailarts, artsucreative A ,ytisrevinU encompassing amongst ;)TIMR ( erutcetihcembodied rA DhP ;)acognition, ilartsuA ythealing isrevinU ecologies, technology, laicoS dspeculative na trA y rarodesign, pmetnoherbology, C TIMR taand rehcraeser practices, ,eltsacFor weNmore fo ytiinformation, srevinU eht ,please noitamsee: rofsnarT ethnobotany. ,tnemnorivnE tliuB dna erutcetihcrA fo loohcS www.invisibledrum.com .wolleF tnioj-oC si eh erehw AMALiA FONFARA (Denmark / Greenland) s4ra nrhealer, ob naidand anashamanic C a si E R Ypractitioner T N i C M N i vL A is antartist, reMAin.A SU eht ni gnShe ikroholds w dnaa gMA niviin l ylFine tnerruc based Trondheim. lau(2015), siv thgfrom uat ethe h .dNorwegian E.B dna .A.F .B sih gniniatbo Art University ot detacand olerTechnology eh 1102 nI .eand dacaedtwo-year a revo rof stra of Science htucounseling omylP morand f AFtherapeutic M sih deriuqhealing ca eh ereducation ehw eporuE smuidefrom m foThe egnaHealing r ediw aand gniyTherapy olpmE .ySchool tisrevinU (2015), ,oediv dnBased a ,no4on allaperformance tsni ,gn4niapand gnidulcni in Trondheim.

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gnnew izilamedia iceps ,)her 7102artistic ( ygolowork nhceTembarks dna ecneon icSanfo noontological itom hguorinvestigation ht stnemnorivofnethe cincrossings os lautriv ni .nof oitinner azilaitand aps outer laruanlandscapes ib emit-laerthrough dna gnikcart fointrospection seitreporp ehtofgn inimaxeeand r nicontemplative seil sucof siH animism .cihealing nagro dpractices, na laicfiitrawhere deredthe isno c si hcihof w tsoul aht essences pand uorgmateriality aidemitlum t fo trap siineha ,holistic yllacisuM areehentangled bulcomprehension c s’miehdnorT nof i dlife. evloHer vni ,work rethgu D erutuF isaoften dn iheb sroengaged taitini ein ht local fo enoenvironments dna ,JD a sa ewith necs socially bu c eht egreference rem ot gnto imGreenland. ia tpecnoc She a – sis uhatscoyL a lstrong refounder bmem gof nid nuof a si eH (NO) .y rellartist ag tra association, eht htiw Invisibledrum eviatcplatform aretni htinvestigating iw gnikrow ,evrelationships itcelloc idyL eht fo .snoitibihxe within lausivotechnology, idua rof ngised and interconnections shamanism, and animistic systems in ni desab tsitra dsociety. nalaeZ weN a si h C A E L E i D D A M contemporary gnidliub edulcni stcejorp larutplucs reH .nedewS s’dnalaeSOARES Z weN fo(Spain/ foor ehPortugal) t rof taoblworks ias ertem-5 a NAzARé a dnotions eppihs of sahinvisibility, ehS .)6002(imperceptibility, muesum lanoitan around wand eN m orf naengineering. ecO cfiicaP ehHer t sspractice orca eertsince sutpylacuE magic 5232014 tnesis;)7developed 0–6002( nifrom aga kher cab interest dna ,elihin C osystems t dnalaeZ gniinterconnectivity rps uohiaW eT ehand t motopographies rf retaw enitsiof rp fo sertil of a deimagination. xaoc dna ;)51Her 02( dpractice ehsinav tinterweaves i erehw ,atrakaJ ot the slaicpsychoacoustic ffio licnuoc ,nem ssecinematic nisub ,sretspaces, irw fo ytinummoc and especulative dam ’elahwdesign, ‘ a enigaand mi operformance t rotide repaparts, swen a dna foincubating ennot-enospaces dna liofor larritual enim dand esuincubation fo sertil 07 morf feirmeans.

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roof rn uoc ,stksritaand rbamdeTechnology skarbo-w CYcN ia SreAhL aGspecializing Dw EN ntaScience itsaitsr(2017), iudO em enO M i S AFin Mvirtual dfoehntoyitlatn seghntifsosorsonic roctceehrtienvironments gietrsreuvcthrough nsi ilaechiSgo.rmotion leottinrw o dna spatialization. ehTtracking ,ngishegDuand osh an rgaorrePnsntirA oforhlotreal-time epcS acssndonsbinaural arlarPetauomd foeniF ofeN ,taeHis dveittaifocus b neoecbin h skim roiw lgnuooiproperties losoohrtcnSi w lpih mxeetlies denvreexamining aam na’sfaothe tDce.p that considered ;nolu donsoL &wartificial ai,rsoetccitiV fwhich o,smeu cneseisussM e etrhetbelA reh canrand pi dglneorganic. ihlaeerha dna Musically, the ln aniisodiepart tlagNna;of ytn en edllnaaG trA ciytrseilolahGahe e deyrS amultimedia y,W tilSaN irefo taymrgroup Future inrnuTrondheim’s ,y rneellftaDaughter, rootcclub iV fo oGssirkerhopwarrginvolved eoHto.hefPil;efon ooisbnleeM he,rapim scene the ;hyteinwdsyas rDJ, Anoyrand m tof nl on Ci dfoeinitiators tSne,atm iavrnoepone laceo gm aguneesuyM llbehind a;in cosdnoL –dSay.S concept ,yahlp oGtooht Pecrto oef rmerge eerftenregCnthe noartilclub -Lysthus odcna s;yi eenh dn naeregraiming n saartsuA He lgN u(om Du.sris tdfnouhotfnoM ,nrooiwith tfadiceotathe srsuacart tsiathrgallery. as)aO direalP bfounding is,oivtnoIhfPoerhemember lof anthe oitaLydi n snpriehtn scollective, nI ooiatyaglenriP gneworking ihtaTg,iltasveivtwith nsei Fmdrinteractive ofatlaklcpuaA eht ytdesign teG,yeghotfor ntoiw dnsexhibitions. anoyihtpcean rgnootcorhePtnfiodlanvaitseF lofonaudiovisual hflcaehtenbih .muesuMnni asim laertsu dnin a aetduntaits,m nIsninoaitm avarhessnoC yA s ceih tstim MADDiE fo rLEACh otaruc-is ocadNew na er.Zealand froarotpibased dee-toncoin sci ehS yeh tewicyonsAyartist m Sweden. Her sculptural projects.einclude rehweslEbuilding & erehwynA a 5-metre skrosailboat w )lagutfor roPthe /niroof apS(ofS ENew R A OZealand’s S é R A z AN national museum anOuL ramdi(2006). e,syatibli-ben riu ob lfeoM ,yt,rileitbiritwp e,tcsrietp isShe vn ihas sshipped naositioYnRdW orN a AES Eucalyptus the leacunsiV h lo.ghPacific nadNew rnoataruc s tree enciitDcacross arPparesd H neiH ree.naiOcean gicniesucm igfrom adm Zealand again sent ltneetsryrto us cnChile, si itd deyhSm fo epvoilneU strA sym senraeand tyneinrback oyrftidser(2006–07); veedhstim 41o0r2f 325 litres oftrfpristine Ao n u Splaofrom ct idtenraothe eyhtiTTe neanlnaoccitrierspring sei ishepidawater rgto vid tcWaihou tCnfiofodaeH to Jakarta, tisrreetvnit iinevanished Uci,tsctarrAp erhe(2015); tHfo.neogiand etallnoiCcoaxed aiiro tactiV ta sefvoaeywhere w ganm eh community demr,osfeof rceapwriters, ebusinessmen, teibniihcxdensa hciytsrw pdsncaitd am ucouncil ocLa.oehncrofficials yusopbleM and dna newspaper ,,ysltlraano reditor ertonfird ynlala,nogitsaeand‘whale’ hetvoitbaylulemade ecitnaanm epntoadimagine cveipssnetxe from oil detidn70 eoidlitres i asprasone-tonne egpnpiatagbnuictinrof tn abausclaof nni rused dunoaj slmineral auuotrierm roufn sencand iw sih cement (2012–14).

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NiCCOLò ,etis noMASiNi krow dnisa an eviItalian l stsitramultidisciplinary eht ,ortneucne eseht artist, teacher, eht nI .eand capsresearcher cilbup ni sbased noitnein v rGenoa etni gnand itaerc Amsterdam. seitinutroppHe o seistacurrently erc IPAWpursuing AH ,wolloan f taMFA ht shtnom in art and tahpraxis t gnikn iht research dna hcraat esethe r ,sDAI krow(2021). eht tceHis nnoc ot artworks ofanarrative ,latipafall c ehinto t ni the cilbrealms up rediw htiw etisand no ncraft, eppah poetry, sa hcuand s euanthropology, golaid dna yalwhich psid foguide seigetthe artsaudience hguorht through .snoitan aciengaging lbup & gnnarrative immargorofp methods, cilbup ,snvoices, oitibihxe views, and perspectives. Questioning hidden rules “culture,” skof row dna sevilMasini yltnerrdraws uc N R inspiration O K E S R i h hfrom AN N A h literature, eht si ehistory, hS .dnufolklore, oS teguPpsychoanalysis, eht ni dnalsI noreligion, hsaV no anthropology, reH .ycnedisebringing R tsitrA dthe nalotherwise sI nohsaV immaterial eht fo rotcerid into na hphysical tiw denibbeing. moc nIn on2018 emonhe ehwas p larawarded utan ni ythe tisoiruc Best Year neebYoung sah teArtist nalp eof htThe fo gn ieb-(Painting llew eht n& i tSculpture) nemtsevni byytthe GAMMA inum moc dnacompetition lacigoloce rand eh roGM f ecrconference of gnivird eht of Tokyo. eht fo rednuof eht si ehS .ecitcarp tra desucof evitcelloc tsitra seicepsretni na ,dliuG ekipS nedloG BEATRiz spoleMATuRANA ved ,hcraeserCOSSiO lanoitavisrean sboArchitect stcudnoc taht (RMIT sniaUniversity, hc ylppus laAustralia) rutan eht with gniwaolMaster lof rof sof eigetarts Urban setaeDesigner rc dna sgnand idnPhD atsreArchitecture dnu lairetam (University delpuoced fo of Melbourne, Australia); Director .erac dnand a egdAcademic, elwonk htiw Institute of Architectural History and Heritage, Facultyhof crArchitecture aeser citsitra and na siUrbanism, ) O N ( M u RUniversity DELBiSivNi of Chile dand atitSchool na sAdjunct ecitcarpProfessor citsiloh gn agitsevnofi mroftalp Architecture RMIT. dna tra foand dleUrbanism, fi eht nihtiw seigolonhcet lautirips secitcarp citsimina yduts eW .seigoloce wen ANThONY ,egdMCiNNENY elwonk fo sdisleafiDesigner y ranilpics(Monash idsnart nihtiw University, evitaerAustralia); c ,stra eht Visual rehto tArtist sgnom(RMIT a gnissapmocne University Architecture gnilaeh ,noAustralia); itingoc dePhD idobm e ,ygolonhce(RMIT); t ,seigoloce researcher dnaat ,ygRMIT olobreContemporary h ,ngised evitaArt luceand ps ,sSocial ecitcarp Transformation, :ees esaelp ,nthe oitaUniversity mrofni eroof mNewcastle, roF .ynatobonhte School of Architecture and Built Environment, moc.m urdelbisivni.www where he is Co-joint Fellow. )dnalneerG / kramneD( A R AF N O F A i L A M A ALviN isaahCanadian renoiMCiNTYRE titcarp cinam s dna ,relaborn eh ,tsar4st itra na si currently eniF niliving AM aand sdloworking h ehS .miniethe hdnUSA. orT nAMer i desab obtaining ytisrhis eviB.F.A. nU naiand gew rB.Ed. oN ehhe t mtaught orf ,)51visual 02( trA arts forraover a tdecade. ey-ow a dna ygInol2011 onhche eTrelocated dna ecneito cS fo Europe MFA noitacwhere ude gnhe ilaacquired eh cituephis areh t dnafrom gnilePlymouth snuoc University. range mediums loohcS yEmploying parehT dnaagwide nilaeH ehT of mo rf ,)5102( including and dna pain4ng, ecnamrofinstalla4on, rep no desaB .mvideo, iehdnorT ni

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– leeR yuhdpprac4ce n )dKnUa(primarily dAlenffii eAhBS athemes ,)denvailencieFr oo soisliV hP,has ytrsoeF tscioHDtrexplored McIntyre’s ,)nlizAarM B(and tnsaeF R(CyEtwork (nyUrallribG iL aid nla vdimythology. )lam erltiF noAM is,)rH evCioMen cM meoM rf of religion His ques4ons noo iftstreligious F eytruan ege“blind” l.l)oACSU lay,adherence RtseohBt (mlaovrto reA roiM pdogmas, mretPnsonCosuch gitnuiltoavas reuRC the .)nothe dnoritual L( trAoffo Circumvent (video 2019), which explores desab ts4ra hby sinusing apS/na iscalpel latI na son i Oai Rflower, L E D Aaltering R OR uA circumcision ctnnaem ,ign4ansiaApMcIntyre’s prAoSclatest nuiYehNSseries .niGlrNehas B dnroefpredpnorgans. hseTtNarAoM iM O EnLi its,ereproduc4ve sdloh ehfoSind .eGermany, drnpudo lce4ficeahrpt nrei hrUSA, eoctundi oand nsadrneahgcrna4eisrewr beenaexhibited Japan. hn t am,otraf gynra4rnoip aP mnuiessturA MeenhitFffooryem dneudoafc-A oced mneitnAoBc morsf aew cMORONATO’s 4echasrP,8t1r0A2 noit e4eapproach acadlnis aneghotloroBf 1r0g2ed mA orFFMto .dneart pasinformed i,D NiCCOLò 4s4rhacreaH kRroeYhtwfeoNm /and naieltreleconomic etguuta4nsineItheory. einse.languages aBru htrtafsontarraTp by hisctraining wettfocuses enbopCihrsonfon oe4rtaerrors hand tTsNetea“flaws” hspace, ctrraaepseeD r rarnoepem nlerCeU hgt4tsaevtnin ei m Hisy practice eA caCpCs U lapublic neem olcrnivinsetcintended eehjot rwpothne,enot a.enrodp naagannaiSmturh TtN dn uspace, creuRtjust A especially as eht seUcTnlocation eu,fl)0n2i0n2obut N ( 4ep roerather pcargenpiSsias yhttithe Cwsoah ecultural/social/ ddI n,0a2d0e2vtiseecFresapesdiI physical eItynbi sdieethaS tsiebuaghn yaCwC weehNt n,yitd iCestaserd ru.cd-etaffecting ,eirsoipeople’s pyatgilnaieSr A linguistic/visual infrastructure no4tiinmfim eHis duSnework igidrnoatatthe nweeinclusion/ tN op,m foueecsaupM s rhuwtcseetaddresses ithacnrA rhAt ;ykind ktriloaY4of choices. ytielraoeprafgonaeiSrspace unticsunrocan tistaasencourage, n parsuim onadexpose erdoipoavgansiSi reevhnw oC,dlaeicraolttrying C drto exclusion dnmindsets a e,m r;n eh onnoaLh,gysociety uoerdhatcdAunwittingly aerzeroirF ,d,e)t9a1l0adopts, s2nahrttosbi( eLetdsnyasand otdnorms m the uo liiatfafzoiteigcire-discussion. adpesvliahncirm t aisAthem ,)81–6for 102play ( tceand jor.eprcollective n Ailneeh W opening htiwrecent noitarinterventions oballoc ni ,gninclude oK gnoHpublic ,evihcrA trA His most rotarStar uc naSurvey, inarI na2019, si i B.at OpaGgn DiASMADOCVA M A hUOTM eArLoArchivio CC N formats ,(The weGasworks, N ,nylkoorGuest B ni deProjects sab rengLondon) ised dna and ,tcetihcra Milan, mo(The rf eciSmallest tcarP lairoControllable taruC ni AMElement, na sdloh 2020, eH .krat oY video reGamma, vo htiW .Milan). kroY weN ,strA lausiV fo loohcS eht Spazio ,tsaE elddiM eht ni ecneirepxe fo sraey neeftfi tinU eht ni yviCuñA ltnecer tMACKENNA som dna ,aciin rfA htuoS MuSEOdeBENJAMíN -snarChile, t hcir aisdthe epoMuseum leved sahof dathe mmCity, ahoM ,setatS Santiago, named aht Intendente krow suoicsof noSantiago c-yllacitil(1872–1875) op fo ydob lanoitan aftertthe ,raw ,noitazSantiago inoloc sa as hcu s s“Paris emehtof seSouth tagorretni who modernized the hcihw including fo lla ,tnem novision rivne eto htcanalize dna ,tnethe mecalpsid America” the labolG ehRiver. t fo scMuseum itilop ehtDirector, fo srallipRicardo eht sredBrodsky isnoc eh Mapocho ta roInstitutional taruc dna redDevelopment, nuof-oc si damSolmaría mahoM .htuoS Baudet. tneAhumada. cer siH .erutcetihcrA dna trA rof weivtnorF Ramírez dna tiklooT gnippaM lainoloceD edulcni stcejorp .tlas dna daerb MY huSBAND (2015–present) is the combined practice of ELizA DOYLE and ANNiKA BERRY, noitazinavideos, gro larutexts, tluc tlecture-performances. nednepedni na si i P AWIts Ah comprising neewteisbasseries retnuoof cnslippages e setarenebetween g hcihw author ureP ni and desab oeuvre ralinterrogating ucitrap a erehmethods w secalp of dncollaboration a stsitra fo spuand org subject, ,latnemnoaround rivne ,lamaterial icos ,laci& tilartistic op( tciflautonomy. noc ro elggurts questions gniruD .efil ywith liad oSurvivalists t lartnec si )and gnipPreppers palrevo llin a nefto Collaborating

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-sdYork rtaanrooeCity, niadHusband rcusci aNsAiout TLAi uBburden tLid.etSd reostacb errio dt-aosought NRiuLthe QNEAiNSAuCS New My ahtraoumeans traerPuC n saibssnAoiethastfragilities. .)K ( aAeW s-AnH o hcaeeDttaas nitd isniaeghrS on aU ,My IP of threat ofeastrevealing cneilhptsituates ar)ePtW srenfo irteitdcnawork rupofy-roanow icdsnid nitself iLfD o (pn uooirlgiva PserkraW t raaeLy Husband’s post-emergency: n,learcru heS Drfthe p M itcilosipe( where lgg.)u tM s r( ad leuccaitlcontinuously raspiDa eehret hrowf em cHits aulepsu athe ot in yaltdimension Shit Hlla:sneowe itoimistake b,ilhaxtn e eem ethe rnhotworld ):gynrisidpnat peaH lryelvloowhen ft rnivongenfor ,ilkarithe coows Fan. What stake atiHow m icw aRsfailures dcnsIi AtFnM sliaMd:edo krsour o atshneiahgSAof.ekimagination fciolRyl,ipaedeD ottn laehelp rrtenffeius apocalypse? m oatSeetu mtaitSsn ehI ttn lAar;T 28t–a6r7e9g1atnnaeM mnm iaatregtonrEP sah:us drncollectively? raIsln and hurt hcraelsaeirodteiddenu dnmaa;rsgeiorroptSlakirroowtahrcutacPdceim ,gfnaim poeldenvaePd oO’TOOLE fesNkc,arm TiL neis dnm a asartist trogooRrpcand iylbduuPtasddoctoral ltaitsttcceejjoorrpp ntaiaesBvisual em den KiERArw pU evoiG tardunca-oáctoeghosB,y,leUniversity, snurouivoebrlPeM .aiUK ro,fktaarolPY ciat xdeeM ,snAilrm eB researcher Loughborough with salw aar,u )9c1–n7o1and 0se2s( uIphenomenology.

IcIoXf lhacirnaneesierrTtcnietrlO’Toole’s aru Bc,trseoH hG.yethiCt aon id rontdrawing fo-cus egcnaipdsaetcrand efjoorsresearch pecait,cwaeripv rexamine eddnnautonfe-omcicapacenhatpm fooecncoa eaveitlc efloloscrdrawing’s practice nirecord w–olD lehf and ariuectaedhitdd 6h1S02.g( nniovd oLdnai Plaeirhomaterialize ttn nn a,)9s1i –eatmospheric aenw ity to acasite’s 2A niMdrawing ratkaam Da,yrgn hsanotone.

M.9,1A0Her D oarppmeocC itinclude clarirPetlaiM rconfeotW arAuRC emotional outputs .)ailartwithin suA( ytgallery isrevinU rences, publications, and exhibitions na si llespaces. wkcalBRecent ainaT exhibitions L L E W K C A Linclude B AY N A T and non-gallery rrAwfd onraolHighlanes SL.A tsSitrEaiand naPiOlaSrtA suNAA .restiCarlow, reohtcaarB uca asdsOpen iloRhAezhA h VISUAL Gallery reovninfU IoMitRarm rxfesArno rdueonniloKramer, thrA ,ciydtaisDrawing’ m o sTncurated olopby pH icshitdiw nu)Ballina gueonrihFT( ‘Beyond enraustceeittiivUpcoming hictcrA psaclasresidencies d sanM ejbeu runtalL ucfsonsarrettand d a exhibitions ,aladungani)l2-0y0lo2p( ArtsdCentre.

8v1n0i2s( eesnorpuo orbplekM foLandscape, inisUsem fsoi lslyeaw wkceavliBtn.)eSculpture row ryethis,rsenvo rpoxref include: Leitrim Centre’s repvEnvironmental nUdn aelD ad .s.ygtniisp& aim lriokw actiatileResearch otp oeidgntanCeResidency rD ruhcPganyigltnnand eelrlrauhcc Ecology dernorfercontKeshcorran’, oacrunCi htn craatessisesraAccollaborative istasw itreahysra,0n2il0presidency. i roerHF 2icostid6r1e0t2nm ‘Walking ,co-founder y reotm arttiDrawing arTuN tdeCentered, luechteltbaigsnoatitnian ibh y rarois pm noeCmro,efgeof nrehC lU ihtxiwE O’Toole .epacnsidcollective naMl nniaghntithat nudaeexplores htafo tasneu A itw udsanrogicontemporary Aq.edrnoapasgsenniSkrtard A artist-led itaforrlaonoehsceShet het am viotrcfaeoctitsckaerePs llaleirwoktacraulBC ,sgtrnAisluapractice. usesviV drawing hn cu teem lo,onhocitSalcliastusn Mi ,eghntipmpoarm f oentiasioPpnmi oAcBsa d a s,ksrdooYhw N .gnis itian rw artist, dna mlcurator fi ,ecnam rofresearcher rep ,yhp.n arogbostioLhfpo BEN PARRY and based in London. He holds a BA in Environmental nivildrGlasgow lfi aBnaaan RABTUrban AALCEiM neakaromtamru c dnnaaidtasof bitrraArt, ssii RA ODLEYin S SAEPJ Artgfrom School MA tneipicerfrom t asthe w eUniversity hSt s.n dnnoLiverpool aLnnoidd¬ensaobLand feohd eaH Aa.lniM odof rneeceuwdtoerbp Planning nm iduuthe niUniversity enfod sredtrnaIwof lam reavregsofroP rlocF s,rsoptiahrsuwColalof itnaanWest faotScotland. sream PhD gfrom the ap Cs,a)iyDlaand aebhitMd(edtarpractice aruwcA-olcicancemploy uio nocontext il1iv2aPciatnro 7tI10,C 2situated ssCeJn,a)iFlaCtII( His driven lnliaem srraoM sw ReecM ,)yand fr(ep pih& mollfiledFnaaprocess inIeV nlai tnIo,C itaibbiihM xe( a diversee,ecapproach to medium, iV elavn asatlu )etext ehtrtAfoopeadusing M ifilm, toaintraenpublic trleAtnnIAn‘interventions, hm cuisS sdenmam acrngaorrFp engagement ii-ttisCitgranHis eiM f d‘e,t)explores n1io aew ’-snesound. iwtaorlglwork 9 0p 2 p,satscthe joreintersections Phsts9e1u0G2(n’eI s.d rerof vaiwnA U and tneand ceRd.ecology, oM Y ‘wdenNa( )eand t,senrtIntetaCrPtrtA a necunweKdisaeTr( n)A aSrU ets,knroactivism 8t1u0t2iurbanism, art including :e,d ulecd nai csA gnlian bithsin xiterMumbai. ym yeoeRrc( sesdabout onRa asnneowaste eithiS alahntoiiwta’ndrneHe atlnsiI a long-standing project sgnleads inhoTitnibethe h ladteI c,eum ihW xMA e‘ e,)hytCuratorial doorRp(Practice o0s2l0a2aeczisiat srP eBath Jtn.)e7l1a0T2 currently p rtseuhA e’noeof hO pArt. o‘ l,g)aniA t n,ni enioW it(ar’rgeih MtOdnhacatE rAo:tsntIneagvrirerM A‘ School ,iknieshleSH.m ( sueevsihucM rAsosedm manhagenbitbtiorN abirlbau BseshetLta,)’KdU lro,W aC(

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SuSiE QuiLLiNAN nedrub eht tuo thgis uoco-director s dnabsuH and yM ,editor ytiC krat oY weN HAWAPI, yM .san eitorganisation iligarf gnilaevbased er fo sin naPeru em athat sa taeach erht fo year :ycnetakes gremea-group tsop flof estinterdisciplinary i setautis won kropractitioners w s’dnabsuH (political, etohta splace tiH ylwhere suouniatnparticular oc tihS ehstruggle t erehw n oisnemid a ni social, eht rof denvironmental, lrow eht ekatsimoften ew neall hwoverlapping) ekats ta si tahW .naF issucentral life. pleh noto itadaily nigam i fo She serulhas iaf rworked uo od woas H MFA ?espylacopa Program Manager at Transart ?Institute ylevitcelloand c su has truh dna developed curatorial programming, editorial projects larotand cod study a dna tprogrammes sitra lausiv ain si Lima, E L O O TNew ’O AREiK York, a htBerlin, iw KU ,Melbourne, ytisrevinU hBogotá guorobhand guoMexico L ta rehcraeser City. curatorial s’eHer looTcurrent ’O .ygolresearch onemonefocuses hp dna gon niw ard no suc-of accompaniment and practices -capac s’gniw ardcollective enimaxe h craeser dof nareading ecitcarp and cweaving. irehpsomShe ta s’isetaiscandidate a ezilairetainmthe dnaPhD dro– cer ot yti Curatorial -efnoc eduPractice lcni stupprogram tuo gniwaatrdMADA, reH .enMonash ot lanoitome University (Australia). y rellag nih tiw snoitibihxe dna ,snoitacilbup ,secner edulcni snoitibihxe tneceR .secaps y rellag-non dna ANA SOPhiE dna y reSALAzAR llaG nepOisseancurator alhgiH ,and wolrwriter. aC LAUSIV Through ofiwnomadic, anillaB undisciplined ,remarK onrA explorations yb detaruc ’gn arD dnoyeB‘ poly-lingual, snoitibihxe and dna transcultural seicnediser gnsubjectivities imocpU .ertneand C strA expressions, ,epacsdnher aL work s’ertnproposes eC erutplinventive ucS mirtieways L :edof ulcni challenging world dna ycnedcurrent iseR hcrgeopolitical aeseR latnem norivmappings. nE & ygolocE From.y2016 cnedto ise2020, r evitashe robawas llocAssistant a ,’narrocCurator hseK gnifor klaW‘ Exhibitions na ,deretat nethe CedNTU gniwCentre arD fo rfor ednContemporary uof-oc si elooT ’O Art Singapore. y raropmetAna noc graduated serolpxe tawith ht evan itceMA llocin del-tsitra Curatorial Practice from the School.eofciVisual Arts, tcarp gn iward New York, and a BA in Piano from the Music School of Lisbon. rehcraeser dna rotaruc ,tsitra na si YRRAP NEB latnemnorivnE ni AB a sdloh eH .nodnoL ni desab JESSiCA curator nabrUTAYLOR ni AM nis a ,atrBarbadian A fo loohcS wogsaland G morf trA producer dnabased loopreinviLondon.

L fo ytisreAs vinthe U eHead ht moof rf gninnalP Programmes .dnaltocS of fo International tseW eht fo ytCurators isrevinU eForum ht morf DhP (ICF), yoJessica lpme ecco-curated itcarp detathe utis2017 dna Diaspora nevird txePavilion tnoc siH exhibition dnin a sVenice secorpand ,mufilm idem&operformance t hcaorppa esrevid a programmes txet ,snoitnsuch ev retas ni‘An cilbAlternative up ,mlfi gniMap su tnof emthe egagne Universe’ fo snoit(Guest cesretnProjects, i eht sero2019), lpxe k‘Migrating row siH .dnCities’ uos dna (Tai and gnKwun idulcnArt i ,mCentre, sinabru2018) dna m sivi‘Monster tca ,ygoloand ce dna tra Island’ eH .iabwith muMartist ni etSheena saw tuoRose ba tce(Royal jorp gnAcademy, idnats-gnol a 2017). htaBJessica ta ecitalso carP produced lairotaruCthe AMexhibition eht sdael yltnerruc ‘Arrivants: Art and Migration in the Anglophone .trA fo loohcS Caribbean World’ at the Barbados Museum. She

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received semehtadBA eroin lpxArt e ylHistory iramirp and sah Philosophy ec4carp s’erytnIcM from University (Montreal) an MA sno4sMcGill euq neM o krow siH .ygolohtyand m dn an oigin iler fo Curating sa hcus ,Contemporary samgod suoigilArt er ofrom t ecnethe rehRoyal da ”dnCollege ilb“ eht of foArt laut(London). ir eht serolpxe hcihw ,)9102 oediv( tnevmucriC gniretla ,rewofl a no leplacs a gnisu yb noisicmucric LEONG sah seirMiN es tseYu tal SAMANThA s’erytnIcM .sisnaan groindependent ev4cudorper sti researcher .napand aJ dproducer na ,ASU ,in ynathe mrfield eG niofdetibihxe neeb contemporary art, and co-founder of the Museum for d emthe rofDisplaced. ni si tra ot hFrom caorp2014 pa s’to O T2018, AN O Rshe O Mwas òLOCCiN part .y rof oethe ht cinaugural imonoce dteam na seof gauthe gnaResearch l ni gniniart sih yb Department atafl the ,ecaps ni ”sw “ dNTU na sroCentre rre no for sesContemporary ucof ecitcarp siH Art Singapore. a sa tsuj Recent ton dedprojects netni ,ecinclude aps cilbNTU up yllCCA aicepse Ideas /laiFest cos/2020, larutluIdeasCity c eht sa rSingapore ehtar tub(2020), noitacoNTU l lacisyhp CCAs’eSingapore, lpoep gnitcguest-curated effa erutcurtsby arfnIdeasCity, i lausiv/ciNew tsiugnil Museum, New /noisulcn i fo York; dnik eArt ht sand esseArchitecture rdda krow sSummit iH .seciohc Singapore Curatorial esopxe and ot gn iy rt ,egarConversations uocne nac ecain psSingapore a noisulcxe (both London; ,stpod2019), a ylgnFrieze ittiwnuAcademy, yteicos sm ron dnaand stesLee dnim eht Wen .noisArchive sucsid-edigitization r evitcelloc project dna yalp(2016–18), rof mehtAsia gninepo Art Archive, cilbupHong edulcKong, ni snoin itncollaboration ev retni tnecerwith tsom siH NTU AVCCCA OD oSingapore. ivihcrA ta ,9102 ,yev ruS ratS ehT( stamrof dna )nodnoL stcejorP tseuG ,skrowsaG ,naliM ta ,0202 ,tnemelE elballortnoC tsellamS ehT( oediv .)naliM ,ammaG oizapS ni AN N E K C A M Añ u C i v N í M A J N E B O E S u M deman ,ytiC eht fo muesuM eht si ,elihC ,ogaitnaS )5781–2781( ogaitnaS fo etnednetnI eht refta htuoS fo siraP“ eht sa ogaitnaS dezinredom ohw eht ezilanac ot noisiv eht gnidulcni ”aciremA yksdorB odraciR ,rotceriD muesuM .reviR ohcopaM aíramloS ,tnempoleveD lanoitutitsnI .teduaB .adamuhA zerímaR denibmoc eht si )tneserp–5102( D N A B S u h Y M ,YR R E B A K i N N A dna E L Y O D A z i L E fo ecitcarp stI .secnamrofrep-erutcel ,stxet ,soediv gnisirpmoc dna rohtua neewteb segappils fo seires a si ervueo dna noitaroballoc fo sdohtem gnitagorretni ,tcejbus .ymonotua citsitra & lairetam dnuora snoitseuq ni srepperP dna stsilaviv ruS htiw gnitaroballoC

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y ranilpicsiditlum nailatI na si i N i S A M ò L O C C i N dna aoneG ni desab rehcraeser dna ,rehcaet ,tsitra AFM na gniusrup yltnerruc si eH .madretsmA siH .)1202( IAD eht ta hcraeser dna sixarp tra ni ,ftarc dna evitarran fo smlaer eht otni llaf skrowtra ecneidua eht ediug hcihw ,ygoloporhtna dna ,y rteop ,seciov ,sdohtem fo evitarran gnigagne na hguorht neddih gninoitseuQ .sevitcepsrep dna ,sweiv morf noitaripsni sward inisaM ”,erutluc“ fo selur ,noigiler ,sisylanaohcysp ,erolklof ,y rotsih ,erutaretil lairetammi esiw rehto eht gnignirb ,ygoloporhtna eht dedrawa saw eh 8102 nI .gnieb lacisyhp otni )erutplucS & gnitniaP( raeY ehT fo tsitrA gnuoY tseB ecnerefnoc MG dna noititepmoc AMMAG eht yb .oykoT fo tcetihcrA na si O i S S O C AN A R u TA M z i R TA E B fo retsaM a htiw )ailartsuA ,ytisrevinU TIMR( ytisrevinU( erutcetihcrA DhP dna rengiseD nabrU ,cimedacA dna rotceriD ;)ailartsuA ,enruobleM fo ,egatireH dna y rotsiH larutcetihcrA fo etutitsnI ytisrevinU ,msinabrU dna erutcetihcrA fo ytlucaF fo loohcS ta rosseforP tcnujdA dna elihC fo .TIMR ,msinabrU dna erutcetihcrA hsanoM( rengiseD a si Y N E N N i C M Y N O h T N A TIMR( tsitrA lausiV ;)ailartsuA ,ytisrevinU ;)TIMR( erutcetihcrA DhP ;)ailartsuA ytisrevinU laicoS dna trA y raropmetnoC TIMR ta rehcraeser ,eltsacweN fo ytisrevinU eht ,noitamrofsnarT ,tnemnorivnE tliuB dna erutcetihcrA fo loohcS .wolleF tnioj-oC si eh erehw ts4ra nrob naidanaC a si E R Y T N i C M N i vL A reMA .ASU eht ni gnikrow dna gnivil yltnerruc lausiv thguat eh .dE.B dna .A.F.B sih gniniatbo ot detacoler eh 1102 nI .edaced a revo rof stra htuomylP morf AFM sih deriuqca eh erehw eporuE smuidem fo egnar ediw a gniyolpmE .ytisrevinU ,oediv dna ,no4allatsni ,gn4niap gnidulcni

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gnizilaiDOuGLAS ceps ,)7102(isyagoNYC-based lonhceT dnartist, a ecnecurator icS fo SiMONE nowriter. itom hShe guorishtcurrently stnemnothe rivndirector e cinos lof authe triv MFA ni and n.eneow paih aupaParsons foetm raiptSchool roap uorP ittaezbilProgram taspres nlatrat naib -lsaaed r edtn gpnuikscyalrdtThe Fine Arts of Design, V foaexrhave ,seerielhsexhibited w cejat, orP fyotisSchool. ereitvrienpUo(rDouglas’ ptreAhltagunsiworks nim etenreC nibeen uycn ofAstiH New lo.och caSgsrheld F neo aPoMuseum, otabhletM fo in onodsnrin aPlVictoria a( itcrfiAiternaid dsisrn cdsniah)ceinhrwuLondon; and are &esrAlbert h seD fo uorg aidofem itlumSydney; eht.)flo otNational racpS swi eN h Gallery ,eyhllTac,insguiM ArtpGallery NSW, buVictoria, lc s’miehMelbourne; dnorT ni dePhotographers vlovni ,rethguaGallery, D erutuF of dnihebMuseum srotaitiniofehContemporary t fo eno dna ,JD a sSydney; a enescrsotidE London; Art, lngiumoiD d bulc eht Centre egrem ofor tsagPhotography, a tepneocm noiScSydney; a n–asyurhwand tosyLLnaeS Australian rebmof em gnPhoto, idnuofParis. a si eH .y rellaghas tracurated eht htiwfor Month the Douglas evAuckland itcaretni hFestival, tiw gnikrThe ow ,ePingyao vitcellocInternational idyLgneihtitdfeoypoC the .snoitibihxand e lauon sivbehalf oidua of rogfn naghiZ seudgneR Festival of Photography the Getty rwoL naeS Conservation Institute and the AustralianyMuseum. esab tsitrof a dAnywhere nalaeZ weand N aco-curator si h C A E L E She nisi d co-editor ofi D D A M D gnidli& ubElsewhere. edulcni stcejorp larutplucs reH .nendgeisweS Anywhere s’dnalaeZ weN fo foor eht rof taobliasyedritgeE ma-5llE a a depis piahsMelbourne-based sah ehS .)6002( martist, uesumwriter, lanoitan SEAN LOWRY weN m orfmusician. naecO cfiiHe caPholds eht ssaorPhD ca eein rt Visual sutptyclaatcnuoEC curator and atncaeljaoerZp 523 tfrom nes ;)the 70–University 6002( niagmaofokcSydney c.alibam dnga@and ,erliehhisCwcurrently oytnd Arts gnof irpCritical s uohiaW eht morf reStudies taw enitin sirArt p fo sertil Head andeTTheoretical a dexaocCollege dna ;)51of02the ( deArts, hsinaUniversity v ti erehw ,of atrakN aJBoStI at Victorian -4fo53y7ti8n4u6m -0m -8o7c9 slaicffio licnLowry uoc ,nehas mssexhibited enisub ,srand et0 ir-w1performed Melbourne. edam ’elboth ahw ‘ nationally a enigami oand t rotinternationally, ide repapswen aand dna extensively nn eC rleahrw lbourPf olaeunsniV otfappears -oeneortd ainl;ieonumerous enyinmAdtjournals ecseujofroPsyebrand tdile0hedited 7sim hisfwriting tfreA sdneois aP n M v( itnnUe(mterA irGenehiFTHe csuralso d ordpFounder -oac)en hrsu7oand 1b 02len I .f)o41y–t2is1r0e2Director c volumes.

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yhposolihP dna y rotsiH trA ni AB a deviecer ni AM na dna )laertnoM( ytisrevinU lliGcM morf egelloC layoR eht morf trA y raropmetnoC gnitaruC .)nodnoL( trA fo

rotaruc ,tsitra desab-CYN a si S A L G u O D E N O M i S AFM eht fo rotcerid eht yltnerruc si ehS .retirw dna Proudly ehT ,ngsupported iseD fo loohascSpart snoof sraaPpartnership ta margorP sbetween trA eniF Project Visual ,ta detiAnywhere, bihxe neeb Centre evah skof row ’salguArt oD(University .loohcS weN of ;nMelbourne) odnoL ,mueand suMParsons treblA &Fine airoArt tciV(Parsons ni dleh eSchool ra dna of Design, y relThe laG lNew anoitSchool). aN ;yendyS ,WSN fo y rellaG trA ,y rellaG srehpargotohP ;enruobleM ,airotciV fo Editors ;yendyS ,trA y raropmetnoC fo muesuM ;nodnoL SeandLowry na ;yenand dySSimone ,yhpargDouglas otohP rof ertneC nailartsuA rof detaruc sah salguoD .siraP ,otohP eht fo htnoM Copylaediting noitanretnI oaygniP ehT ,lavitseF dnalkcuA eht Rengu ytteGZhang eht fo flaheb no dna yhpargotohP fo lavitseF Sean .mueLowry suM nailartsuA eht dna etutitsnI noitav resnoC fo rotaruc-oc dna erehwynA fo rotide-oc si ehS Design .erehweslE & erehwynA Ella Egidy ,retirw ,tsitra desab-enruobleM a si YR W O L N A E S Contact lausiV ni DhP a sdloh eH .naicisum dna rotaruc projectanywhere@gmail.com yltnerruc si dna yendyS fo ytisrevinU eht morf strA trA ni seidutS laciteroehT dna lacitirC fo daeH ISBN fo ytisrevinU ,strA eht fo egelloC nairotciV ta 978-0-6487354-1-0 demrofrep dna detibihxe sah y rwoL .enruobleM dna ,yllanoitanretni dna yllanoitan htob ylevisnetxe Published detide dnaby slaProject nruoj sAnywhere; uoremun niCentre sraeppof a gVisual nitirw sih Art Melbourne) Art rotc(University eriD evitucof exE dna rednuoand F osParsons la si eH Fine .semu lov (Parsons margSchool orp noitof ibDesign, ihxe dewThe eiveNew r reepSchool). dnilb labolg fo —)ten.erehwynatcejorp.www( erehwynA tcejorP All pihsIncluded rentrap aImages fo trap © sa 2021 detrothe ppuArtists s yltneUnless rruc si hcihw Otherwise fo ytiNoted srevinU( trA lausiV fo ertneC eht neewteb loohcS snosraP( trA eniF snosraP dna )enruobleM flah eno osla si y rwoL .)loohcS weN ehT ,ngiseD fo .www( gnihtoN fo stsohG eh T fo )ermiaT ramlI htiw( esaelp ,noitamrofni erom roF .)moc.gnihtonfostsohg moc.y rwolnaes.www tisiv

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tnednepedni na si A h T N A M A S u Y N i M G N O E L fo dlefi eht ni recudorp dna rehcraeser muesuM eht fo rednuof-oc dna ,tra y raropmetnoc saw ehs ,8102 ot 4102 morF .decalpsiD eht rof hcraeseR eht fo maet laruguani eht fo trap y raropmetnoC rof ertneC UTN eht ta tnemtrapeD ACC UTN edulcni stcejorp tneceR .eropagniS trA UTN ,)0202( eropagniS ytiCsaedI ,0202 tseF saedI weN ,ytiCsaedI yb detaruc-tseug ,eropagniS ACC timmuS erutcetihcrA dna trA ;kroY weN ,muesuM eropagniS ni snoitasrevnoC lairotaruC dna eropagniS eeL dna ;nodnoL ,ymedacA ezeirF ,)9102 htob( aisA ,)81–6102( tcejorp noitazitigid evihcrA neW htiw noitaroballoc ni ,gnoK gnoH ,evihcrA trA .eropagniS ACC UTN

ta rotide dna rotcerid-oc si N AN i L L i u Q E i S u S hcae taht ureP ni desab noitasinagro na ,IPAWAH srenoititcarp y ranilpicsidretni fo puorg a sekat raey ,lacitilop( elggurts ralucitrap a erehw ecalp a ot )gnippalrevo lla nefto ,latnemnorivne ,laicos AFM sa dekrow sah ehS .efil yliad ot lartnec si sah dna etutitsnI trasnarT ta reganaM margorP lairotide ,gnimmargorp lairotaruc depoleved weN ,amiL ni semmargorp yduts dna stcejorp ocixeM dna átogoB ,enruobleM ,nilreB ,kroY lairotaruc no sesucof hcraeser tnerruc reH .ytiC gnidaer fo secitcarp evitcelloc dna tneminapmocca – DhP eht ni etadidnac a si ehS .gnivaew dna hsanoM ,ADAM ta margorp ecitcarP lairotaruC .)ailartsuA( ytisrevinU .retirw dna rotaruc a si R A z A L A S E i h P O S AN A ,cidamon fo snoitarolpxe denilpicsidnu hguorhT dna seitivitcejbus larutlucsnart dna ,laugnil-ylop fo syaw evitnevni sesoporp krow reh ,snoisserpxe .sgnippam dlrow lacitilopoeg tnerruc gnignellahc rof rotaruC tnatsissA saw ehs ,0202 ot 6102 morF y raropmetnoC rof ertneC UTN eht ta snoitibihxE ni AM na htiw detaudarg anA .eropagniS trA ,strA lausiV fo loohcS eht morf ecitcarP lairotaruC loohcS cisuM eht morf onaiP ni AB a dna ,kroY weN .nobsiL fo dna rotaruc naidabraB a si R O L YAT A C i S S E J fo daeH eht sA .nodnoL ni desab recudorp muroF srotaruC lanoitanretnI fo semmargorP noilivaP aropsaiD 7102 eht detaruc-oc acisseJ ,)FCI( ecnamrofrep & mlfi dna ecineV ni noitibihxe eht fo paM evitanretlA nA‘ sa hcus semmargorp ’seitiC gnitargiM‘ ,)9102 ,stcejorP tseuG( ’esrevinU dna retsnoM‘ dna )8102 ,ertneC trA nuwK iaT( ,ymedacA layoR( esoR aneehS tsitra htiw ’dnalsI noitibihxe eht decudorp osla acisseJ .)7102 enohpolgnA eht ni noitargiM dna trA :stnavirrA‘ ehS .muesuM sodabraB eht ta ’dlroW naebbiraC

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